BOOK REVIEW: The Passage

Well, it's been about four months since my last post. Nothing inspiring to write about, I guess. I spent enough time reading this almost-800-page book, though, so I figured it was at least worth a mention. "The Passage" by Justin Cronin has been out for quite a while, and everything I had read about it was pretty much anointing it the book of the decade, or something close. I'd probably stop short of that, although Cronin is certainly a talented writer.

"The Passage" is presented as the first in a post-apocalyptic trilogy that tells the story of a mystical girl named Amy. Why you can't tell an entire story in 780-something pages is beyond me, but apparently, there must be a reason. The strengths of the book are that Cronin definitely shows his prowess as an author, particularly when describing death, despair, and loneliness (of which there is much...the setting being post-apocalyptic and all), and also that Amy, around five years old when the story begins, is a highly sympathetic character. The main gripe I have with the book is that, for a central character, she barely appears in the book at all. To be more accurate, she's referred to or is present in many scenes, but for reasons I won't explain so as not to give away too many details, she isn't doing anything in the lion's share of those scenes. There is a whole chunk of the middle of the book in which she isn't even there at all, however. So, while I cared about Amy for the first 200 or so pages, my attention waned after that.

"The Passage" tells the story of how the United States (and perhaps the world...it's never made clear), is overrun with a horrific virus that has turned a vast majority of the population into bloodthirsty, vampiric creatures - not of the Twilight ilk, for sure, nothing romantic about the "virals" as they're called. The surviving humans are scattered across the country, condemned to live fearful existences within the walls of colonies where they can be protected from the dangers lurking outside. They're so isolated that they pretty much don't know if anyone else outside their walls still lives. The beginning of the book makes passing reference to how the outbreak all began (a doctor conducting experiments, trying to harness the virus as a cure for disease and aging), how the U.S. government and military gets involved (securing a number of death row inmates as the first human test subjects, leading to them becoming the first "virals"), and introduces us to Amy, who is also virtually kidnapped by the government and subjected to testing, although the virus seems to have an altogether different effect on her. One of the other main problems with the narrative is that it shifts the action from five to ten years (I was confused as to which it was) prior to the beginning of the story, to 92 years, and in a roundabout way, also 1,003 years forward. The circumstances surrounding the beginning of the experiments (that's the five to ten years prior part) are never fully explained, with the time shift and description of what was happening then becoming very jarring to the reader (at least to me). It was never clarified how or why the government inserted itself into this situation, or how they knew there was anything special about Amy.

After the first 200 or so pages, the narrative suddenly flashes 92 years into the future, and it's at this point where all reference to Amy abruptly disappears. We're then introduced to the first of the aforementioned colonies of survivors, located somewhere in California. The problem is, there are so many people living there, that it's really difficult to grow attached to any of the characters. And it was a bit unnerving to suddenly have to focus on a slew of new main characters this deep into the book. For about the next 300 pages, I really didn't care about anything that was happening, and that's a pretty long stretch of boredom when you're reading a novel. It wasn't until a seemingly un-aged Amy reappears and comes into contact with the colony, and a handful of the inhabitants decide to venture into the wilderness with her in tow, that things really begin to get compelling again. They're forced to live off the land, and seek shelter, food and weapons wherever and however possible, all while fighting off the lurking virals. They've discovered Amy's secret...that she has remained a young girl for almost a century, and they've intercepted a radio transmission passing through a chip that the government had implanted in her neck during the long ago experiments. That message makes their goal to return Amy to the site of those experiments in Telluride, Colorado. It's a dramatic and intriguing journey, to say the least. But I found the anticipation to be much more rewarding than the ultimate payoff. Once they arrive in Colorado, and get their hands on the original doctor's files, they don't seem to learn any more than what we, the readers, already knew. I was expecting some kind of big reveal regarding how Amy got the way she was, why she was chosen for the experiments, why they didn't affect her the same way as they did the virals, and most of all, why they were supposed to bring her back. Also, the killing off of one of the central bad guys (the head viral, I guess you could call him), was completely unsatisfying. This is a mistake that many Hollywood films make as well...they don't know how to stage the climactic battle scenes. Considering how adept Cronin was at describing other characters' deaths in vivid, haunting detail, I was surprised that he fell flat at this critical moment.

At various interludes in the story, we are taken to the year 1,003 A.V. (I'm assuming "After Virus" - another thing that is never made clear). There is no actual descriptive action taking place in these chapters; the headings just reference the date and some sort of educational conference in Australia, with the text comprised of passages from the writings of two of the characters whom we know from the California colony in the year 92 A.V. So, obviously the world has moved on from the virus, and people are studying the events of all those years ago. It makes for an interesting narrative tool, and lays the groundwork for a somewhat stunning, book-ending cliffhanger. I guess I should have seen that coming, knowing there were more books in the series.

All in all, "The Passage" was compelling enough for me to want to read the next installment. I still can't get over the fact, however, that the postscript states that "The story of Amy continues in 'The Twelve' coming in 2012," when this first book really wasn't much of a story of Amy to begin with. I mean, in spirit it was, because everything that happened is somehow tied to her, but so little of the actual ACTION of the story directly involves her. I hope we get to know her a lot better in "The Twelve."

OVERALL GRADE: B

The Year in TV

My track record of finding great new TV shows to watch is spotty, at best. I always seem to pick the ones that get canceled within or after one season. Here's a rundown of what I've been watching this year, and my take on each.

The Event
Harry's Law
The Chicago Code
V
The Good Wife
Modern Family
Better With You
Mr. Sunshine
Big Bang Theory
Fringe

Modern Family, Big Bang Theory, and to a lesser extent, The Good Wife are examples of the rare times that I get hooked on shows that actually become bona fide hits. It happens occasionally, as with Lost, 24, and a few others over the years, but as with most things, my tastes usually run against the grain. MF and BBT are both hilarious returning sitcoms that should be around for several more seasons. The Good Wife was a breakout hit drama from the 2009-10 season, but has seen a small dropoff in viewership this year. Juliana Marguilies is basically the reason to watch this show. They featured some interesting rivalries this year, but the plots have kind of been all over the place. Whereas, she is probably one of the most likable actors on TV, and is what keeps people coming back.

Fringe has been hanging on for a few seasons, despite middling ratings, and I'm not really sure what to make of it. I don't love it. But, I guess it's been interesting and creative enough to have held my attention span this long. It's at the point where you just have to hold on to find out where it's all leading.

The other returning show on this list is the reboot of the 80's sci-fi mini-series, and then short-lived recurring series, V. When it debuted in 2009, I thought the first few episodes stunk. They were sloppily written, I didn't care about the characters too much, and I just didn't see what was going to suck me in. However, something happened after that, and the character development, dramatic tension, and acting, all made leaps and bounds. It was renewed for a 2nd season despite not exactly enjoying a ratings bonanza, and once again, it's on the ropes after having just ended a 10-episode "mini-season." TV networks don't typically cut the episode order to 10 as a vote of confidence, and the short time frame definitely detracted from the horrific season finale. The writers/producers were obviously attempting to wrap things up hastily, and the result was an unmitigated mess of cliched writing, implausible plot elements, and character deaths meant for shock value, but which will substantially suck the life from the various interactions/rivalries on the show, if it's somehow brought back for Season 3.

The Event is another one of those sci-fi "what the hell is going on" thrillers that sprung up in the wake of Lost. The TV networks never know how to position these series, as was seen with the brief, one season-life of Flash Forward and many before it. Plots that no one can follow, more questions than answers, answers that end up being cop outs, and those long hiatuses between "Part 1" of the season and "Part II." When is someone in the industry going to figure out that the viewers do not return after 8 weeks of no new episodes? The Event is OK, but I'm sad to say, I'm not sure if I will even miss it if it gets canned, which it likely will be.

Two freshman comedies, Better With You and Mr. Sunshine, are both likely on shaky ground for renewals. "Sunshine" probably has a better shot due to the star power of Matthew Perry, and to a lesser extent, Allison Janney. I was one of maybe five people who loved Perry's last attempt at a post-Friends series - the grossly underrated Studio 60 on the Sunset Strip, which suffered from debuting around the same time as the similarly themed 30 Rock, and not starring the inexplicably idolized Tina Fey. This time, Perry is a sarcastic (no, really?), seemingly self-absorbed manager of a sports arena, who has trouble relating to his underlings. Some bizarre characters on this one, but Perry's delivery really holds it all together. All his characters might be, in some way, retreads of Chandler, but if it ain't broke....

Better With You suffers from lack of network promotion and lack of star power. That 70's Show's Debra Jo Rupp is the most well-known, with Joanna Garcia (otherwise known as wife of New York Yankees outfielder, Nick Swisher) pulling up the rear. The show illustrates the parallels between Mia's (Garcia) relationship with her new husband, the relationship between Mia's sister, Maddie, and the guy she's been with for several years without marrying, and that of Mia and Maddie's parents. The writing is at times goofy, but mostly funny and observant. Unfortunately, this one probably has run its course.

The last two are Monday mid-season replacements, The Chicago Code and Harry's Law. "Code" was pretty much dead on arrival, so no sense in getting into too much detail. There are cops and politicians. Some are corrupt. Some aren't. Crimes happen and get solved. It takes place in Chicago. The one amazing thing about this show is how stunning Jennifer Beals still looks at 48, a full 28 years after she burst on the scene in Flashdance. Wowzer!

Happily, there is one bona fide dramatic hit this season, and it's David E. Kelley's Harry's Law. The rare show driven by a 63-year-old lead actress (Kathy Bates), it's practically a lock to return for a full Season 2, and deservedly so. It started out tenuously, with Kelley's trademark quirkiness threatening to get in the way of his otherwise solid writing. But the "loopy" factor has since been tamped down a bit, in lieu of continued witty scripting and solid, unusual but believable and sympathetic character relationships, and standout acting performances all around - particularly by Bates, and co-star Christopher McDonald, also up there in the age department. Bates plays a former patent lawyer who now takes criminal cases in watching out for the residents of a ghetto-esque Cincinnati neighborhood. But this is anything but a typical courtroom procedural. It's about the people, not the trials. If Kelley doesn't go off the deep end, as he did with Boston Legal, then I hope this one will be around for a while.

Here's hoping there are some new gems to watch, come September.

Something New

Well it's the start of another year (and technically, a new decade - what are we calling this one?). So, time for another venture. As many of you know, I have been unemployed for quite a while now. I moved back to New York, from Las Vegas, in search of more plentiful opportunities, but my thoughts are now leading me in a somewhat different direction. This is likely to be the year of the personal brand. With many folks in similar situations as I, there will likely be many headfirst dives into the world of entrepreneurship and solo practitioner-ship (a new term - I coined it first). This trend, combined with the proliferation of social media and other technological tools, will give rise to a revolution in personal branding. Be it through launching new companies, blogging, publishing e-books, public speaking, or what have you, people all over are going to be finding new ways of communicating what it means to experience a business relationship with them.

I, for one, will be launching a marketing consulting practice and associated business & marketing blog. One of the first steps in establishing my personal brand is choosing a logo for my company, eⁿthcast Marketing & Consulting. To that end, I am running a competition on a Web site called 99designs, where an array of artists worldwide have submitted their design ideas based on my instructions. I have narrowed the field down to my Top 8 choices, which are viewable below. If you click on the VOTE NOW button, it will take you to the voting page, where you can rate and comment on each selection. This process will help me get an idea of how the masses would subconsciously react to each of these logos, were I to choose them. Think about who you would want giving you marketing guidance if you were the owner of a small to medium-sized business. The more votes logged, the more significant the results will be, so your participation is greatly appreciated! Happy New Year everyone, and may your new adventures be as prosperous as I hope mine will be.

Custom Logo Design at 99designs

Job Posting Dictionary

I thought I would do the job searching world a favor, and provide this much needed translation of common terms found in Internet job postings. After having been unemployed for nearly two years, I have read many, and know that if you're not paying close attention, the true meaning of some of these words and phrases might elude folks who expect everything to be literal. So, here it is...Jeremy's Job Posting Dictionary:

Intern = foolish and desperate recent college grad willing to work for nothing
Entry-Level = two to four years experience
Two to four years experience = two to four years experience in this exact type of position, otherwise, go screw yourself
Strong communication skills = you can somehow trick us into actually reading your cover letter and resume
Must be proficient in = second only to God in skill level
Preferred (as in, "MBA preferred" or "fashion industry experience preferred") = you'd better have this, motherfucker
Bachelor's degree required = we will only consider you if the university you attended rhymes with Schmarvard, Schmale, or Schmanford
Self-starter = you will automatically know how to perform every task without any direction - this is especially pertinent when your direct supervisor is busy getting blown by one of the foolish and desperate recent college grads willing to work for nothing
Entrepreneurial spirit = you failed at starting your own successful business, that's why you're applying to work here, loser
Willing to travel = there's a fucking Starbucks every 20 feet, now get me my venti caramel machiatto, you lazy shit
Must possess valid driver's license = if you're not willing to get me my venti caramel machiatto, you can drive your good-for-nothing ass home
Local applicants only = members of the hiring manager's family only
Must have the legal right to work in the U.S. = except if you're a white male, particularly an unattractive one - then, let's be realistic, you have no shot
Ability to respond well under pressure - What's that? You just chucked your laptop across the room?

Then, of course, there is the all-time favorite phrase that comes in the standard rejection form letter:

While we were greatly impressed with your qualifications = PFFFT!

Top 20 Songs of 2010

I've said it a couple times already...this was not a fantastic year for me in terms of finding music I liked. The number of songs I download has dropped pretty dramatically over the past couple of years, actually. That having been said, there is still the cream of the crop. Here you will find the 20 songs from 2010 that I felt deserved special recognition. OK, I'm not sure if being on my blog counts as "special," but I'm putting them here nonetheless. Only about eight of these tunes could even be considered minor radio hits...but certainly none of them hit the Top 20 of the Billboard Hot 100. Nope...no Lady Gaga or Black Eyed Peas here. Amazingly though, I do have two songs on my list that are considered to be part of the country genre. In fact, they're both in my Top 5. Did you hear any reports of icicles in hell? There's also a crossover opera singer, a band with a dead lead singer, and an American Idol contestant. An interesting mish-mosh, to be sure. So, without any further rambling...here we go. Links to Amazon are provided if you care to sample any of the tracks.

20. My Little Secret - Cavo
I totally missed how good the album Bright Nights * Dark Days from this modern rock band when it first came out in 2009. That's probably because the first single, "Champagne" didn't really do it for me. Then, much more recently, I discovered a couple other songs by them, and actually just downloaded the full album tonight. A nice, melodic tune here to kick off the Top 20.
19. Tennessee Line - Daughtry
In actuality, there are three country artists on my countdown, when you consider that Vince Gill contributes backing vocals to this Daughtry ballad. Leave This Town has to be one of the most overlooked albums of the past couple years...and it still went platinum. 
18. If It's Love - Train
Any song that references 80's hair band, Winger, is automatically cool in my book...ha! Pat Monahan's lyrics often don't make much sense, and sound like he's just trying to come up with catchy rhymes. And it works. This was a pretty big hit on adult contemporary radio, but it's only the 2nd best Train song on my countdown.
17. Broken Bones - Rev Theory
The awesome album Light It Up, by this New York modern rock band, came out in 2008, but the final single stretched into the new decade. Good enough for me. Looking forward to their new CD in February. 
16. Man of Colours - Grace Bawden
This classical/opera crossover singer was a finalist on Australia's Got Talent when she was 15 yrs. old, and subsequently turned down a major label deal. I guess that's why no one in the U.S. knows who she is. I discovered her, of all places, on business social networking site, LinkedIn, where she posted a comment on one of the groups. This is a cover of the amazing title track off of the amazing 1987 CD by Aussie pop band, Icehouse. One of my favorite albums of all-time.
15. September - Daughtry
Another great track from the American Idol "loser." My only regret about their album, is that the standout track, "Call Your Name," was never released as a single. It could very well have been my #1. 
14. Familiar Taste of Poison - Halestorm
Ahhhh, Lzzy. That's Halestorm lead singer, Lzzy Hale. I have no idea what happened to her other vowel, but crap, the girl can sing. If she had sung the encyclopedia, I probably would have found a way to include that. Not the best from them, though.
13. All In - Lifehouse
These guys are just catchy rock hook machines. Their latest album was somewhat of a disappointment compared to their recent work, but there are always at least a few songs worth putting on repeat. This is one of them.
12. Jenny - Mike Garrigan
You've seen this North Carolina singer-songwriter on previous lists of mine, and so has he, actually. He was kind enough to subscribe to my blog after having been very gracious in communicating with me via e-mail over a period of several months, taking an interest in my ventures in the music industry and screenwriting. This is what I would have considered to be the "commercial single" off his latest, Voyage of the Malamander, if there had been one released. Nice guy, and talented guy. Doing it all on his own. Show some support if you care to.
11. Save Me, San Francisco - Train
Just.Plain.Catchy.

10. Crash - Cavo
Had heard this one on the radio for months before I discovered it was them. Great rock tune.
9. Pull Me Through - Tyrone Wells
Amazing voice. Saw him live at the SXSW festival in 2009. A slight turn back to his more folky roots on his Metal & Wood EP, but this is a poppier sounding track, and a great one. 
8. Lesson Learned - Alice in Chains
Comeback album for the grunge outfit, of course, sans the departed Layne Staley. William DuVall does a formidable job of channeling Staley, and this is a really strong rocker.
7. Impossible - Anberlin
Not crazy about the album, but this is an incredibly catchy rock song. 
6. Grace - Ed Kowalczyk
Former Live lead singer Kowalczyk bursts out on his own with his debut solo CD, Alive. His band was criminally overlooked for years after their radio hit days were done, so it's no surprise that this one hasn't gained any traction in the U.S. I've seen Live in concert, and I saw E.K. touring with Art Alexakis of Everclear and Leigh Nash of Sixpence None the Richer. Simply one of the best singers out there.
5. Let Me Hear You Scream - Ozzy Osbourne
In my opinion, one of the best tracks he's written in nearly 20 years. Unfortunately, the rest of the Scream album didn't follow suit. 
4. Pray For You - Jaron and the Long Road to Love
Don't know what that band name is about, but this is one half of the 90's brotherly pop duo, Evan & Jaron, of one-hit wonder "Crazy For That Girl" fame. JatLRtL's debut CD, Getting Dressed in the Dark is supposedly a country album, but it sounds like pop to me. Good pop. Several strong tracks on there, but this one takes the cake. A really cleverly written kiss-off song. The lyric starts out giving the listener the idea that the singer is heeding advice from his pastor not to hold anger for people, but to pray for them. Well, as it turns out, Jaron had a different kind of prayer in mind; the kind that involves wishing that his ex's brakes go out while she's running down a hill, among other things. With tongue firmly planted in cheek, Jaron Lowenstein has crafted a jangly pop gem.
3. Bet U Wish U Had Me Back - Halestorm
There she is again. Lzzy and the guys just beat my cutoff for the list by releasing this, one of the best tracks on their self-titled debut, Halestorm, as their latest single. Of course, they're not getting the recognition they deserve. How can people not be noticing the strongest female rock singer since Heart's Ann Wilson? Another great kiss-off tune, featuring the year's best line..."Do you close your eyes with her and pretend I'm doing you again, like only I can?" Only a true rocker ego could belt that one out.
2. Time of Our Lives - Tyrone Wells
Again, an incredible new voice on the music scene...even though he's actually been at it for years. Another artist I wish were getting more attention. Tell me this sentimental ballad isn't crying to be included on some High School graduation video montage.



1. She's With Me - Collin Raye
This was one of the first ten or so songs that I made note of this year, hearing the accomplished country singer perform it live on Fox News' Huckabee show. I knew instantly that this would be my #1 of the year, barring anything unforeseen. At the time, it was just a really touching tribute to Raye's granddaughter, Haley Marie Bell, who had long been suffering from an undiagnosed neurological disorder that had left her unable to speak or walk, among other things. A few weeks after I saw the performance, Haley passed away at the age of nine. Now the song is a permanent memorial. Dare you to watch the video HERE and not get choked up. I can't name a single other Collin Raye song, but who cares when there's this? I'm sure it's the only list he's ever appeared on with Ozzy Osbourne.





 

1.

REVIEW: Bad Religion - Irving Plaza 10/27/10

This past week, I re-started my New York City concert-going experience with a band whom I had been meaning to see for several years, but for some reason, always had other plans interfere. I'm not a hard core Bad Religion fan by any stretch. In fact there are only two albums of theirs from which I've downloaded 5 or more songs. But I do think their music has a great energy and their lyrics are thoughtful and original...even if I don't necessarily know what they're singing about. So I figured they would put on a great live show.

This was the 3rd of 3 dates they were playing at Irving Plaza as part of their 30th anniversary tour. Each night was supposed to represent an approximately ten-year segment of time. I chose to attend the last one, since I'm a little more familiar with their more recent work, and this show was highlighting the Bad Religion albums from 2000-present, including the just released The Dissent of Man. 

The unfortunate thing about many shows today, is that the run times are getting shorter and shorter as the ticket prices go higher and higher. Of course, in punk rock, many of the songs clock in at under 3:00, giving the bands even less incentive to do a longer set. When you can cram 27 songs into a 1:20 set, why not? I just think that the artists should be giving the audiences more bang for their buck. Also unfortunate in this instance, the better of the two opening acts, Off With Their Heads, played first, with me missing most of their set. The Aggrolites, a soul-funk/reggae outfit (not my cup of tea at all), came on next, which led to me going downstairs to watch the World Series on a TV near the food vendor until it was time for the main act.

In any case, my favorite Bad Religion album is their 2002 effort, The Process of Belief. And indeed, they started the show off with three consecutive tracks from TPoB. They weren't my favorites from that CD, though, and there was something about the way the set started off...something with the sound...the drums overshadowing the vocals...I couldn't quite put my finger on it. Whatever it was, my first thought was, I was going to be disappointed by this show. However, over the next 9 songs or so, things really picked up. Included in this segment were three especially strong tracks off of 2004's The Empire Strikes First - "Sinister Rouge,""Let Them Eat War" and "Los Angeles is Burning." The crowd (other than me) were apparently all die-hard BR fans; they knew every word to every song. This was a welcome contrast to many concerts I've been to recently where the entire audience was talking through the duration of the show. The energy level was high. Unfortunately, so was the temperature in the venue. It was ridiculously hot and muggy INSIDE, something only exacerbated by the packed house of fans. I was sweating my proverbial ya-ya's off. Lead singer, Greg Graffin, even noted the jungle-like conditions at one point between songs, remarking, "I'm sweating like a whore in church up here." And then, referring to the celebration of their 2000-era works, he added, "Because, of course, there was no air conditioning back in the early 2000's, and we're trying to make this experience as authentic as possible!" That got a good chuckle from the sweltering crowd.

Back to the set list: As the second half of the show ensued, they played several songs with which I was not familiar, but which were strong selections all the same. In particular,"Social Suicide" from the previously-mentioned The Empire Strikes First, "Dearly Beloved" from 2007's New Maps of Hell, and especially "Don't Sell Me Short," the lone selection from their 2000 album The New America, were all really rousing live performances. They also finally blistered through two much better selections from my mentioned favorite The Process of Belief - "The Defense" and "Epiphany."

After a couple decent new tracks, the band "cheated" a bit by finishing the main set with two non-2000-era songs - 1994's "Infected" and from the previous year, Recipe For Hate's "American Jesus." That set closer was a great surprise for me, as I think "American Jesus," Bad Religion's rant on Americans' attitudes toward the rest of the world, might be one of the best punk rock songs ever written. The opening and central guitar lick is very simple, but is one of those rock riffs that is unmistakable, and gets your blood rushing.

For the encore, I was sure I knew the two songs that were coming: minor rock radio hit "Sorrow" from The Process of Belief, and, one of my favorite songs ever - by anyone - "New America," the single and title track from The New America. I was half right. They played three songs in closing: "Along the Way," a track off one of their 1980's-era EP's, my correct guess "Sorrow" and, as a nod to the longtime fans, "Fuck Armageddon...This is Hell," a really lackluster choice off of their 1982 debut LP, How Could Hell Be Any Worse? In my opinion, a pretty blah set closer. I was stunned that they didn't play "New America." For anyone who read my blog posts detailing my Top 210 Songs of the 2000's, that one came in at #3. Given the current political climate, and the critical mid-term elections occurring next week, it would have been extremely timely, despite having been written more than a decade earlier.

So, in all, I was pretty disappointed with the absence of a few standout tracks from The Process of Belief

Opening Acts: B-
Venue temperature: D
Band performance: B+
Energy level: A
Audience involvement: A+
Set list: B
Set length: C
Cost: C
OVERALL GRADE: B-

REVIEW: Let Me In

As a stand-alone film, I suppose Matt Reeves' remake of the Sweden's Lat Den Ratte Komma In (Let the Right One In), itself an adaptation of John Ajvide Lindqvist's novel, is a worthwhile cinematic venture. In other words, if you haven't read the source novel or seen the Swedish film, you might enjoy Let Me In. Having seen Tomas Alfredson's attempt at adapting Lindqvist's story though, I am captive to the realization that Reeves' and the rest of the American crew missed a golden opportunity. Plainly speaking, the Hollywood redo added absolutely nothing to what was, in my estimation, a good but not great film. All the movie snobs start whining and turning up their noses as soon as they learn that a U.S. filmmaker is going to dare attempt an adaptation of an overseas film product. However, if there is room for improvement, then why not? That should be the rule with all remakes...they should only be considered when the story can be lifted to a higher level...or at least masterfully updated for a new era in time. Reeves' project does neither. Of course, it seems that most people think more highly of Alfredson's preceding film than I did, but I can only build off of my own opinions.

The main themes of the original film (and presumably the novel, which I have not yet read) are loneliness, desperation, feeling like an outcast, the notorious effects of bullying, the formation of unlikely companionship, unattainable love, and the like - all worthwhile segments of life to explore. The story centers around a downtrodden and fearful pre-adolescent boy (Oskar in the Swedish telling, Owen in the retread), who is being tormented at school, and is caught in emotional quicksand at home as he's bounced between two inept parents in the midst of a divorce (in the Swedish film, his father is an alcoholic, in the U.S. film, his mother is, and we don't see the father, though it is hinted that he is at the least, a deadbeat jerk). A cute girl, appearing to be around his age, moves into his housing complex with a man one would assume was her father. After an initial reluctance on the part of the girl (the first film's Eli, now christened Abby), the two lonely kids form an endearing friendship. After dropping cryptic hints to Owen, played by Kodi Smit-McPhee (The Road), throughout the first quarter of the film about how different she is, Abby inadvertently reveals her secret (not so secret if you've already heard about the story)...she is actually a hauntingly old vampire who has been trapped in the body of a 12-year-old girl for eternity, and consequently, she needs human blood to survive. The man with whom she lives, played here by Richard Jenkins, is not her father, but somewhat of a servant who commits heinous murders on Abby's behalf in order to provide the much-needed sanguinary nutrition.

From my own viewings of the films, combined with reading several reviews of both, I can determine that the audience is to buy into the idea that Owen is so distraught with his own life, that he would rather befriend, and in effect, give himself over to, a murderous, otherworldly creature, rather than continue on with his miserable existence. In parallel, Abby is perhaps deeply regretful of the eternal enslavement she's fallen victim to, and the hideous actions it requires her to take. I think my main problems with both the Swedish and American film versions, stem from the fact that I simply wasn't sold on either of these scenarios. Owen's predilection for all things violent (something that was much more readily apparent in the Swedish film), and vulnerability to succumb to Abby's barbaric charm, are just not justified by what we see of  his life before. I think the American film should have taken the time to create a much more unbearable existence for Owen; one that would have made it more believable for him to end up in the situation in which he does. Likewise, Abby, as played by Chloe Grace Moretz (500 Days of Summer, Kick Ass), doesn't seem remorseful in the least; not of what she has had her father figure do at her behest, nor of her own killings, nor of the empty fate she is intent on bestowing upon her new-found friend. It's therefore, utterly unclear with whom we're supposed to be sympathizing in this whole, unsettling universe. Do we root for the lonely, yet murderous bloodsucker? Do we root for the weakling human outcast who doesn't seem fazed by unprovoked serial homicide? Or, do we root for society to catch up with them and put a stop to the killing spree...sure to otherwise continue for centuries to come. A daunting choice, indeed. The Swedish film does not do an adequate job in setting up the Oskar/Eli relationship, and likewise, Let Me In also fails to build off of its predecessor and make the Owen/Abby saga believable.

I am assuming that the characters are much more well-developed in the novel, and perhaps, that might make the reader's emotional involvement more clear-cut. I will likely do something I've never done before - read a novel after having seen not one, but two film adaptations. I've never even read a book after having seen one film adaptation, so it should be interesting to see how much my knowledge of the story will enhance or detract from the literary experience.