(This article is part of our Best of the Decade series.)
While movie posters seem to get worse every year, there’s still artwork released every year to promote movies that blows us away. The best ones are illustrated, but sometimes Photoshop jobs can turn out pretty well, too. And now that we’ve reached the end of the decade, there’s no better time to look back at some of the best movie posters released over the years. Below, I’ve rounded up what I think are the 20 Best Movie Posters of the Decade. Read More »
This Week in DVD & Blu-ray is a column that compiles all the latest info regarding new DVD and Blu-ray releases, sales, and exclusive deals from stores including Target, Best Buy and Fry’s.
LET ME IN
How you respond to Let Me In will depend almost entirely on whether or not you’ve seen the original. On a purely technical level, its craft is unquestionable. Director Matt Reeves has thoughtfully and skillfully reconstructed Let the Right One In for American audiences, maintaining the solemn mood and tender intimacy of the boy-girl relationship that made the original so heartbreakingly compelling. But that’s also the problem: the film is strictly an imitation. Save for some narrative streamlining and one astounding new set piece, this movie lacks any identity of its own. It is nearly a shot-for-shot remake, and it makes very little attempt to differentiate itself. Because of this, anyone who has seen and loved the original (as I did) will find it nearly impossible to divorce themselves from the material. Which is a shame, really, because it many ways the film is an improvement over its predecessor. Reeves managed to not only identify what worked so well in the original and recreate it with better actors, but he also found what was lacking and axed it completely. In spite of this, my loyalty to the original—or rather, originality in general—prevents me from recommending the film to the same extent that I did that film. And even if you haven’t seen Let the Right One In, I would still suggest viewing that film prior to this one. For me, it was the original’s relaxed, indie sensibilities that allowed for the film’s now-iconic moments to resonate so vividly, bringing an unexpectedness to the brief yet startlingly effective action beats. Moreover, the shots themselves were decidedly more quiet and restrained, which in turn made them all the more haunting. Had I seen Let Me In first, I am doubtful that the film would’ve struck a chord with me in the same way Let the Right One In did.
Available on Blu-ray? Yes.
Notable Extras: DVD – An audio commentary with director Matt Reeves, featurettes (“From The Inside: A Look at the Making of Let Me In”, “The Art of Special Effects”), unrated deleted scenes, and a Car Crash Sequence Step-by-Step. Blu-ray – Includes everything on the DVD, as well as a Dissecting Let Me In feature, and a digital copy of the film.
|BEST DVD PRICE
|Amazon – $13.99
|BEST BLU-RAY PRICE
|Amazon – $19.99
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Posted on Sunday, December 26th, 2010 by David Chen
I hope everyone here had a happy holiday break! I had the chance to finally sit back, relax aimlessly for a few days, and take in some Netflix Watch Instantly films that I wouldn’t get to during the normal course of events. One such film was Sweetgrass, which guest Matt Singer discussed on a previous episode of the /Filmcast. As I watched, I was struck with the film’s breathtaking beauty, and I realized that there’ve been some great-looking films this past year.
Here are what I consider to be the 10 most beautiful films of 2010. There’s no grand unifying theory to this list, other than that these are movies I personally really enjoyed looking at for one reason or another. They are presented in no particular order.
Oh, and tune in on Tuesday night at 9 PM EST at slashfilm’s live page to hear us countdown our top 10 films of 2010!
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I don’t always agree with best-selling author Stephen King‘s opinions, but I still love reading his thoughts about the film world. King has published his annual listing of the top 10 films of the year in the latest issue of Entertainment Weekly.
His 2008 list included Death Race, Lakeview Terrace and The Ruins. In 2009, King agreed with the mainstream critics in naming The Hurt Locker as the best film of the year, but the rest of his list was the opposite of conventional – for example, #2 is The Last House on the Left, which he claims is “on par with The Silence of the Lambs” and “easily the most brilliant remake of the decade.” Other films included District 9, The Taking of Pelham 1 2 3 and 2012.
Which films did he choose for his best of 2010 list? King picked Matt Reeves‘ Let Me In as his #1 film of 2010 declaring it “the best horror film of the decade.” Hit the jump to see the full list in brief.
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This week, David Chen, Devindra Hardawar, and Adam Quigley discuss whether they’re going to see Star Wars in 3D, try and figure out if Zack Snyder would make a good Superman director, praise the claustrophobic pleasures of Buried, and ponder a Bourne franchise with no Jason Bourne. Special guest director Vincenzo Natali joins us for this episode. Vincenzo’s newest film, Splice, is out now on DVD and Blu-Ray.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Join us on Sunday (10/17) at 10 PM EST / 7 PM PST at Slashfilm’s live page as we review Never Let Me Go.
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Somewhere along the line, Director Matt Reeves had seen our coverage of Let Me In, and had enjoyed our enthusiasm yet hesitant intelligent debate (thanks Adam) regarding the film. So when I saw Matt in Austin, he decided to give us a cool exclusive. Reeves showed me an intense deleted sequence from the film, and he somehow convinced Overture Films to let us post it to help promote the film.
While the deleted sequence would have taken place a bit late in the film, it really doesn’t spoil anything. So as Matt suggested, you could watch this clip without having seen the movie. In the scene, Abby (Chloë Grace Moretz) shows Owen (Kodi Smit-McPhee) how she became what she is. And yes, we did get a chance to chat with Matt about the clip, and get a full explanation of why this didn’t make the final cut.
Watch the scene now and listen to Matt’s explanation, after the jump!
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Matt Reeves’ Let Me In (an film adaptation of the Swedish book) arrives in theaters today with some pretty high expectations attached to it. The original Swedish film, Let The Right One In, directed by Tomas Alfredson, is generally regarded by the film geek community as a nearly-flawless genre piece. An American remake seemed crass, both in its assumption (however accurate) that American audiences couldn’t be bothered to read the subtitles of the original, and in the way its release might be calculated to cash in on the current vampire craze.
So does Reeves’ adaptation justify its existence? Hit the jump for some of my thoughts, plus leave your own in the comments section. Note that SPOILERS are allowed.
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During my visit to Fantastic Fest in Austin Texas, I got an opportunity to sit down with filmmaker Matt Reeves.
After graduating from the University of Southern California, Reeves co-wrote a script that eventually became Under Siege 2: Dark Territory and made his feature directorial debut with The Pallbearer. The film screened at the 1996 Cannes Film Festival in the Un Certain Regard section but went on to make only $5.6 million domestically, delaying Reeves chances at a feature film career.
Reeves used this time to co-create the television series Felicity with his friend JJ Abrams, whom he met at age 13 while they were both screening short films on a cable public access channel. In addition to writing, Reeves directed a handful of Felicity episodes including the pilot. He later got a opportunity to break out of “director’s jail” with the Abrams-produced monster movie Cloverfield, which was a big hit. His third feature, Let Me In, an American adaptation/remake of Let The Right One In, has earned high marks from critics (including myself).
And as a special surprise, Reeves showed me a deleted scene from the film (which we will post on Monday, along with his explanation of why it didn’t make the final film). So please remember to check back Monday for that. The scene is Intense. You can watch my video interview with Matt after the jump.
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Cool Posts From Around the Web:
Fantastic Fest 2010 began with a bang. Matt Reeves’ Let Me In served as the opening night film at the Paramount theatre in downtown Austin. You can watch my previously recorded review/reaction to the film here.
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Fantastic Fest in Austin, Texas is mere hours away and we’ve got a look at some of the awesome poster art from Mondo that will be on sale at the event. There are posters for Let Me In and Rubber both by /Film favorite Olly Moss, Roger Corman (co-winner of this year’s Fantastic Fest Lifetime Achievement Award) by Zach Hobbs, Red, White & Blue by Sawdust, Nevermore by Alan Hynes, and X: The Man With X-Ray Eyes by Rob Jones.
Hit the jump to check them all out. Read More »