What to Watch on Shudder: The Dead Zone and More!

Here is what to watch on Shudder this Bank Holiday weekend, featuring The Dead Zone, Let The Right One In, and In The Night…

What to Watch on Shudder: The Dead Zone

The combination of David Cronenberg and Stephen King will surely delight horror fans. Whilst The Dead Zone fits more succinctly into the thriller category than the horror, the film nevertheless has enough to offer those looking for the supernatural. After waking up from a coma, accident victim Johnny discovers he has a psychic ability. Starring Christopher Walken, Brooke Adams, and Martin Sheen, the 1983 film still feels resonant today. Cronenberg mixes supernatural activity with a tense drama. As the film builds to its conclusion, the themes feel both universal (asking viewers would they do the same if given Johnny’s ability) and politically contemporary. The Dead Zone does not trade on jump scares. Instead, it opts for an unsettling tone that lingers.

What to Watch on Shudder: Let The Right One In

2008 Swedish vampire film Let The Right One In has become part of the vampire movie canon for good reason. The horror-drama is about a young boy who befriends his neighbour Eli, although she cannot come out to play during the day. The film is about an endearing friendship, albeit one played out through the instrument of vampirism. Director Thomas Alfredson’s film was given an American remake in the form of Let Me In. Those who have not seen the original should rectify this, however, as it is the superior film.

What to Watch on Shudder: In The Night

This 2015 short is a tense little number. Directed by Joshua Erkman, In The Night is about a new mortuary worker asking his more veteran colleague about his strangest experience on the job. The short film is expertly paced, with tension building steadily to its climax. In The Night almost feels like a prelude to a feature-length film, and it a great showcase for writer-director Erkman.

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Film Review: Let Me In

A remake of the Swedish film Let The Right One In, Let Me In does not stray too far from its antecedent. Although there are a few nice touches added to proceedings, overall this remake seems pretty pointless.

Owen is bullied at school and spends most of his time alone. When a girl moves in next door, he finally has a friend to hang out with. Abby’s arrival, however, coincides with a number of gruesome murders…

Director Matt Reeves follows the blueprint from John Ajvide Lindqvist’s novel and subsequent screenplay, choosing to alter only minor aspects. Unlike the Swedish film, we are thrust right into the action in Let Me In. The film begins at a climactic moment; most of what follows is a flashback.

The relationship between Owen and Abby is endearing, despite the looming danger. It is difficult not to feel sympathy for Owen; the scenes of bullying are quite brutal. Given this environment, it seems reasonable that Owen would want to maintain his bond with his only friend, even after he finds out about her dark side.

There isn’t the same sense of androgyny to Abby as there is to Eli in Let The Right One In. Thus, her assertion that she is not a girl doesn’t have the same poignancy in the 2010 film. Abby is depicted more brutally than her predecessor, but still maintains a feeling of warmth towards her friend. The relationship between the children is convincing; it is easy to see why these two outsiders would bond.

Reeves’ shooting style is fluid, combining the hand-held style of his earlier film Cloverfield with more traditional techniques. Reeves does however make some interesting choices. The face of Owen’s mother, for example, is never shown clearly. The intention may have been to intensify Owen’s state of isolation and the lack of human warmth he receives. Nevertheless, the deliberate obscuring of his mother’s face becomes distracting, and is more reminiscent of Muppet Babies than anything else.

There was something very cold about Let The Right One In that made it so memorable. Let Me In tries to replicate that atmosphere, but is only partially successful. Although the settings are quite similar, there doesn’t seem to be the same sense of isolation that permeates the Swedish version. Despite its 1980s setting, Let Me In does not appear too removed from reality; there is more of an urgency in the film that cuts through the coolness.

Let Me In does offer some highlights, notwithstanding. The performances by Kodi Smit-McPhee and Chloe Moretz are great, and the film boasts a fantastic 1980s soundtrack. Let Me In is incredibly bloody; a nod to Hammer Productions’ notorious past, perhaps.

Let Me In is a well-made film but is just too similar to Let The Right One In. Given that the Swedish version was released fairly recently, the new version appears quite futile. If an English-language version was required, surely dubbing would have been a sensible option.