2. I really liked The Social Network. And so I'm biased. But I think Jose Antonio Vargas's pushback against the movie in the Huffington Post and Nathan Heller's similar Slate piece are just kind of weird. They're trying to make the movie into a battle between the internet and Hollywood, saying that Hollywood is out-of-touch with the digital age. They're picking a fight that simply doesn't exist. The Social Network isn't an indictment of a generation or anything like that; it's just a well-told story about greed and success and friendship. The internet bits are superfluous, and it's crazy that they're trying to make it into a culture war.
3. This has to do with Let Me In and Let the Right One In and there are spoilers involved, so it's after the jump:
While I can appreciate David Schmader's wonder that Matt Reeves didn't fuck up the movie—a few scenes, especially the incredible car-crash sequence, were even more beautiful and well-done than in the original—there are a couple of elements that lead me to believe that the American version just isn't as good as the Swedish one.
Two scenes in particular show that Reeves isn't comfortable letting the audience come to its own conclusions: When Owen finds the "Ye Olde Photo Booth" photos of Abby and her caretaker as a young boy in her apartment, and when Owen sings the Now and Later jingle at the end. The ambiguous relationship between Eli and her caretaker in Right was one of the creepiest parts of the original; I remember wondering if he was a pedophile she was using for her own malicious purposes, though I don't know if I had any proof of that suspicion in the actual movie. And that last song felt like a sledgehammer where a scalpel was needed. So when people like this io9 commenter complain that purists destroyed the box office of Let Me In:
Congratulations, knee-jerk, subtitle-fetishizing film snobs: you've helped suffocate the box office of one of the best films of recent years.
I have to say: I gave them both a shot. Hell, I reviewed Let the Right One In after attending a press screening, which means I didn't pay for a ticket. I actually paid to see Let Me In, so I helped Me's box office more than I helped Right. But I just don't think Me maintained the most horrific part of Right: Its ambiguity.