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“... for the ultimately declared position of mole – and the director’s elegant hand is everywhere. Tomas Alfredson is best known for his bleak vampire movie Let the Right One In, and it’s interesting to see him work in a realm that might have been bleak but isn’t. His sense is that this film is all about surfaces and what can’t be seen on them, and ...”

“... almost everyone’s favourite form of the undead. There’s a sly evocation of this tradition in Tomas Alfredson’s alternately creepy and mildly sentimental Let the Right One In when Oscar, a lonely bullied boy with morbid tastes in local history (he keeps a file of newspaper cuttings with details of all the murders he can find, and he finds a ...”