Reeves chose tone, and atmosphere over action and plot.  Don’t get me wrong, there are few fiendish moments that show off some pretty creepy special effects.  But it’s all about mood here.  And it’s a dark, gloomy creepy mood.  I think I use the phrase, ‘the director couldn’t have asked for a better cast,’ quite a bit.  But it’s quite literally true here.  Abby, the vampiress that the film focuses on, is played by the nearly ubiquitous Chloe Moretz, who performs admirably.  Her sociopath love interest is played by Aussie actor Kodi Smit-McPhee (who’s agent seems to want him cast in the bleakest roles possible), who wowed everyone in John Hillcoat’s The Road. Abby is looked after by an older sociopath/pedophile played by Richard Jenkins, and the small town cop bent on solving the gruesome murders done in the name of feeding Abby is played by Elias Koteas. Not too shabby Mr. Reeves.

The filmmakers did a great disservice to itself by promoting the film as ‘from the director of Cloverfield (this may explain the lack of enthusiasm noted at the box office opening weekend), as this film is light years ahead in sophistication of the pedestrian monster flick. While it’s easy to say that a film rides on the performances of it’s main characters, I have to opine that while Moretz and Smit-McPhee are remarkable, the real VIP of the whole thing is Reeves himself, who manages to create a disturbingly dark and melancholic world. Yes, he’s aided by setting the film in the 80s, a dark, dark time for everyone. But in Reeves realm, it’s unclear which world is more brutal: close to a vampire and bloody killings, or in a school full of bullies and ignored in a home going through a divorce. Take your pick. Just be sure to check out this film. After you’ve watched Låt den rätte komma in, of course.

3.5 out of 4 stars

The story comes from a pulp fiction novel from the 50s, by author Jim Thompson, and Winterbottom adapted it for the screen.  It centers around Lou Ford (Casey Affleck), a young sheriff in west Texas.  He’s called to run a prostitute named Joyce (Alba) out of town, but he falls in love with her.  Love is probably too strong a word here, since it becomes slowly clear that Lou is a psychopath.  He’s also sleeping with his high school sweetheart Amy (Kate Hudson).  Sex with the two women is rough and sadistic, and frequently enjoys ritual spanking.  There’s a grand, complicated story that explains what his motives are, but he ends up killing Joyce and another man, and framing them for it.  He gets deeper and deeper, and he has to keep working harder to keep himself in the clear.

The film is almost entirely character driven, so it’s fortunate that they are written so well (there’s all sorts of fantastic peripheral characters acted by Elias Koteas, Ned Betty, Simon Baker, Bill Pullman, and more).  All the acting is great, especially Affleck, and even, surprisingly, Ms. Hudson.  Anyone who watches this, and think that this is an endorsement to act violently, is ridiculous, because all of the characters are damaged, unhinged souls with no basic barometer of right and wrong.  Winterbottom (and perhaps the source material, I’m not sure), was smart enough not to ask the audience to put their sympathies with Lou.  He’s insane, dangerous, and unworthy of any sort of mercy.  The full horror of his acts are on display, and it’s hard to stomach.  The most disturbing scene of all comes after he’s beaten Amy to a point she’s unable to control her bodily functions (it seems Kate Hudson is frantically trying to get us all to forget Fool’s Gold).  The plot is complex, and quickly paced, and if you can handle the violence, it’s entertaining from beginning to end.  And, while saying this sometimes makes people dubious, the ending is sufficiently shocking to leave you a little speechless as you leave.

The Killer Inside Me