It achieves not only the implementation of vampires without roaming superfluously -- unlike the frivolous notion of aggregating werewolves, vampires, and a teenage girl with the oh so excruciating dilemma of a fetish pertaining to either necrophilia or bestiality -- but also artistically and masterfully elicits the subjects of loneliness, romance, and horror. From the vista that is the cinematography ubiquitous in black nights and white snow, to the authentic performances displayed therein, Let The Right One In, again, is a masterful film.
Michael Cera is hilarious in his socially ineptness, while many times Jonah Hill's salacious outbursts are unnecessary or unjustified in the movie's ethos.
