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Granted, when I sat down to watch the 2021 horror movie "Don't Let Her In" and I saw that this was a Full Moon Features film, then I wasn't really overly impressed, especially since that company tends to make some rather dubious low budget horror movies. But I was intrigued by the movie's cover/poster, and since I hadn't already seen it, of course I opted to give "Don't Let Her In" a chance.

And I have to say that writer and director Ted Nicolaou actually managed to break that particular formula that Full Moon Features have been squeezing every last drop out of thus far. So it was actually a refreshing horror movie that TEd Nicolaou added to the Full Moon Features library.

The storyline told in "Don't Let Her In" was entertaining, albeit somewhat predictable and generic. But it made for some adequate entertaining, and it was definitely a step up in the production value and visual presentation for Full Moon Features.

Now, it should be said that the movie's cover misrepresents the movie somewhat, as that creature's face as seen on the cover got nothing to do with the movie in any way.

"Don't Let Her In" has a rather small cast ensemble that includes the likes of Kelly Curran, Lorin Doctor, Austin James Parker and Cole Pendery, none of whom I have ever seen before. The acting performances in the movie were adequate. And if I have to single out a single performance, it would be Lorin Doctor in the role of Serena, as she carried the majority of the movie actually.

Visually then "Don't Let Her In" was adequate. This is not a multi-million dollar Hollywood CGI or special effects gallore, for sure. But it was actually rather nice, and for a Full Moon Features production it was certainly a step up the ladder.

"Don't Let Her In" is watchable, but it was not an outstanding or particularly memorable addition to the horror genre. So this is not really a movie that I would recommend you rush out to get your hands on. But if it happens to land in your lap, by all means, give it a go.

My rating of "Don't Let Her In" lands on a mediocre five out of ten stars.

A good watch. Enjoyed the role of Serena played by Lorin Doctor. Pretty good special effects, and a decent story. Would recommend to any horror/demon fans.

Not gonna lie here, GREATEST SEX SCENES EVER.

Annnnnd that actually is a lie. I lied.

BUT, depending on what your definition of "is" is, they COULD be. I mean they ARE unique. I'm thinking you've never seen sex scenes quite like these. Kind of, how could one put it... because it's POV, it's what I think it would be like to boink a woman with Mad Cow Disease.(she's diseased, not me) And I think that's something we've all been curious about. I mean, we've all got a darker curious side and wondering if Mad Cow makes the squishy twitch in a way that feels amazing is a valid curiosity; one that this film isn't afraid to explore.

There. I said it.

Enjoy.

...as in don't waste your time on this. Mercifully, this film is only 61 minutes long, so at least if you do happen to watch it, at least you won't be squandering too much of your life on it. The bad news is this story is so been-there-done-that it could have been told in a half-hour format. In fact, this story of a succubus-type demon has been told already in countless feature films before, and in quite a few horror anthology shows, also.

I'm giving it 3 stars instead of 1 for not wasting too much time telling its hackneyed story, and for having a bit of female nudity, too (I consider gratuitous female nudity to be a plus for any low-budget horror film).

All the good reviews were written by friends and relatives of the cast/director Absolute garbage!

There are lot of more interesting things to do instead of watching this , turning the tv off for example.

Dont Let Her In is a great example of quality film making created on a budget. It only has 4 characters and one of them wasnt even necessary.

Very good acting, surprisingly well shot considering the 125K budget and it is a fun, evil, little story.

It has some predictable moments which are easy to overlook.

Lorin Doctor steals this movie. She is the perfect mix of evil, gorgeous and crazy. But it is Kelly Curran's performance that makes the premise of this story believable.

It's only an hour long and is a fun, sexy, little piece of horror candy.

This movie is just hot garbage. I've seen porn with better plot, I defidentally would not recommend unless you enjoy making fun of cringe movies.

There's so much unnecessary sex in this movie that it has more sex than scary parts.

Remember going to the cinema when a main feature would always have a support movie on first ? Well his film running at just over the hour mark would be perfect for a Hollywood blockbuster horror.

It's a well trodden plot, been done a lot before. Rosemary's baby esk, witchcraft and the like.

Anyway the breakdown is.

Acting, good Lightning, good. Never too dark. A usual problem with horror movies.

Effects, cheesy but not overly cheap looking.

Plot. At an hour run time there isn't much of a one but it's fast paced which I liked.

Well worth an hour of any horror fans time. A beer and a pizza lovely night in.

From a lower score do to short playtime, its a small cast, devilish flick taking place i guess in boston, a girl moves in a a share housing project, and thats why its called ''dont let her in''. She starts spreading her vibes all over the place, and everything is turned into ruin.

Its a classic wanna make a helloween flick urges from the director and production crew, seems like a speedsters run to the finish line, with a barely survivable storyline and average acting. The filmatographic techniques and music though works, and a horror novice would get jolted im sure.special effects are cheap but sensible, but not enough for the grumpy old man. Its a norewatch from me.

This show has just been released on the Full Moon streaming site. I recently re-subscribed. They were advertising this in the headline and when I saw the director's name, I figured I'd give it a chance. (He's responsible for some of the best Full Moon Productions).

There's something very entertaining about this. It's not deep, it's not so original, but it is very entertaining. That's all it really needs to be. I recommend it for fans of Full Moon and of horror series' in general.

The characters and the setting are near perfect and fun to watch.

I thought this was going to be a really cheesy horrible movie with bad writing, bad directing and even worse acting.

Turns out, it's worth a watch.

A ditsy blonde and her "rocker" boyfriend take on a super hot sexy brunette roommate who claims she is an artist.

Not so slowly things take a turn with the super hot chick turning into some sort of demon at various times -- like when having sex with the boyfriend while the ditsy blonde is asleep next to him.

Then there's this guy named Elias who keeps creeping around the building. But the super hot brunette is busing having sex with the ditsy blonde. What more can you ask for?

Yes, some of it is rather dumb but the truth is, with a running time of a few seconds more than one hour, you're not going to notice the bad stuff as long as that super hot brunette is on the screen.

This is a very low budget movie that doesn't even attempt to make sense. The positive reviews on here are astounding to me the fact that anyone would find this remotely good is beyond me. The only decent thing about this movie is Lorin Doctor, other than that the acting is terrible, the direction of the movie was useless and the special effects were remnants of a bad Halloween party. I have seen kids Christmas plays that were better acted than this and had better special effects. The producers and other people involved in the film must have a lot of friends that leave great reviews to boost its positive reviews. Miss this one and thank me later.

Not sure what I expected from this. Back in the day it would definitely have been straight to video, that's for sure.

The acting is...wooden. Yeah, that's the word. There's only 4 credited cast and only two of them are anything other than tokens. 10/10 for the men being the token fillers, mind. One delivers his lines like he's reading them off the wall. The other is...quite convincing because I suspect he's just being himself.

The ladies are considerably better, though as they carry the bulk of the script and action they need to be. Not just eye candy. While they're unlikely to trouble the Oscars committee, they deliver.

The script isn't great, the storyline is almost non existent but the effects are OK (pretty good for the budget, in fact) and the ending is neat.

Well shot. Well directed. Worth seeing if you're bored but don't expect horror or soft porn because it isn't either, really. Just a slightly supernatural thriller.

This movie was horrible. It wasn't scary at all. It wasn't sexy at all. It wasn't a thriller. It appeared to be missing something, like there was extra info that just wasn't there or not used. A great chance to make a decent B movie at it appeared hurried. If you are going to make a movie about a sexy demon that invades a couples lives and their beds. Then do that. It was an odd and uncomfortable mess of crap. Like hey i am putting my hand down your pants now go to sleep. The next day the girl was omg that was amazing. The guy had to ask if it had really happened. WTF. Then the demon she turned into was just odd looking. A pair of red eye contacts would have been scarier. Who gives the okay for these movies?

I really enjoyed this movie. The pacing was good. The effects were not over-used and worked well. There was enough mystery to make it work, enough sex to make it work, and enough mystery to make it work. All in all, it was a great film well worth the watch.

The visuals readily impress. The filming location, set design, and decoration look great, with fine sparing consideration for lighting. Filmmaker Ted Nicolaou quickly demonstrates a keen eye for arranging and capturing some arresting shots, making great use of the space of the setting. All due credit to costume designer Courtney Potter and makeup artists Michelle Almanza and Amanda Terry for exquisite work, amplifying performances from chief stars Kelly Curran and Lorin Doctor that already illustrate a seeming natural grace and ease.

With a runtime of only one hour, the film maintains a brisk pace not unlike noir flicks and cheaply made horror of many years past - conveying its plot succinctly and wasting no time. Brief exposition leads into a narrative that feels familiar in some ways, yet 'Don't let her in' is made so well that such a notion can be handily overlooked. Perhaps more than that, the curtness and directness with which the story advances lends to a small sense of being ham-handed and over the top - and that's surely true, not least of all with the sparing special effects that are employed. But instead of coming off as silly - again, I think this is so well done that such forthrightness actually impresses as sincerity, making the movie even more endearing.

Truthfully, in no small part 'Don't let her in' feels like the sort of earnest, hard-working, low-budget, abbreviated genre picture that Roger Corman and his contemporaries were churning out in the 50s and 60s - just with the sensibilities of 2021 instead of 1961. That slant allows the feature's small cast to lean wholly into their roles. Curran's part as Amber is perhaps a pretty typical horror protagonist, but she embodies the part with suitable range, making the young woman believable - of course with a turn at the climax. Cole Pendery is little more than a supporting character, but plays the part well, and Austin James Parker has an even smaller contribution to make, but gratifyingly makes the most of it. And maybe most notable of all, Doctor fully embraces the embellishment that the character of Serena allows, clearly delighting in both the alluring conviviality and the gleeful chewing of scenery that the role allows.

It would be easy to pick apart every aspect of the movie that doesn't meet a particular standard; there's a definite measure of inelegance to the presentation. But such analysis is also beside the point - all involved know very well what they're doing, and 'Don't let her in' has no intent but sly horror fun. This or that is exaggerated, elements of the story are vaguely recognizable, and the effects and editing are definitely a bit ridiculous. But it's also very well made, and entertaining - and with that, a great success.

If you're looking for a serious, visceral horror flick, this probably isn't it. But if you just want an enjoyable romp in the genre, I highly recommend 'Don't let her in.'

In a cinematic milieu rife with offerings, "Don't Let Her In" emerges as an opulent jewel, an exquisite synthesis of intricate storytelling, virtuosic character portrayals, and a narrative tapestry woven with finesse. Directed by the visionary Ted Nicolaou, a maestro who adeptly assumes the mantles of both director and writer, this opus embarks on an odyssey through the labyrinthine recesses of human vulnerability, ensnaring the audience within the Byzantine folds of psychological manipulation, cast in the incandescent light of the performances unfurled by its distinguished ensemble.

Inhabiting the complex role of the beguiling Amber, Kelly Curan traverses the ethereal landscape of emotion with unparalleled finesse. Her characterization emerges as an intricate mosaic of sentiments, each hue finely nuanced, be it the magnetic allure propelling her toward the enigmatic Serena, or the delicate vulnerability subtly juxtaposed beneath her exterior veneer. Curan's performance does not merely beckon, but outright demands attention at the grand theater of Oscars, a veritable symphony of her craft's apex.

Cole Pendery, the embodiment of the male protagonist, ascends cinematic scales with a portrayal that is nothing short of virtuosic. Pendery, a modern-day alchemist, transmutes the abstract essence of enigma into an art form that is both captivating and resonant. His cadence-swift as a gossamer zephyr, yet powerful as the crescendo of a symphonic opus-ushers audiences through the shifting currents of his character's emotive landscape, rendering his journey an indelible melody within the annals of cinema. A performance of this caliber, a veritable tour de force, should rightfully grace the halls of the Academy.

However, it is Lorin Doctor who emerges as the polymathic lighthouse, her luminous presence irradiating the screen with an aura that defies mere acting. In her portrayal of Serena, a character imbued with the esoteric art of witchcraft, Doctor choreographs an enigmatic ballet, a pas de deux between allure and apprehension. A virtuosa of thespian elegance, Doctor traverses the manifold facets of Serena's persona with an acumen that deserves accolades befitting the grandest stages. Her performance resonates as a chiaroscuro masterpiece, demanding acknowledgment from the most discerning connoisseurs of cinematic craft.

The directorial tapestry unfurled by Ted Nicolaou is imbued with a surreal luminosity, where every frame is not just a tableau, but a window into the intricate chambers of the human psyche. Nicolaou's storytelling prowess unveils itself as an evolving tapestry, inviting the viewer to unravel the tessellated enigma that comprises the narrative. His directorial legerdemain begets an almost palpable disquiet, an undercurrent that ebbs and swells beneath the veneer, culminating in a crescendo of visceral intensity. Within Nicolaou's adroit stewardship, characters cease to be mere portrayals; they metamorphose into conduits of emotive resonance, with each inflection and gesture rendered luminous under his discerning gaze.

Nicolaou's simultaneous roles as scribe and helmsman meld into an exquisite harmony, forging a narrative continuum that verges on the sublime. His deft interweaving of character arcs within the overarching narrative fabric attests to his narrative acuity. Characters' idiosyncrasies and desires are harnessed with a meticulousness that produces a variegated tapestry of human experience, underscoring the inextricable dance between manipulation, desire, and the tenuous architecture of the human mind. Nicolaou's narrative mettle culminates in a denouement that reverberates long after the final echoes of the credits dissipate-a testament to the resounding resonance of a cinematic sage at the zenith of his craftsmanship.

Within the annals of cinematic chronicles, certain opuses transcend their confines, ascending to a pantheon reserved for a select few. "Don't Let Her In" epitomizes this elite echelon-a canvas where each performance is a brushstroke, each scene a sonorous symphony of tension and release. The characters therein cease to be mere celluloid avatars; they metamorphose into conduits of shared humanity, with their fears, desires, and epiphanies etching themselves into the collective consciousness. The film stands as a triumphant herald to the potency of cinematic expression-a symphony of emotion, enigma, and revelation poised to inscribe itself as an indelible monument in the annals of celluloid splendor.

In summation, "Don't Let Her In" surpasses the realm of mere cinema, emerging as a sensory sojourn that propels the spectator into a realm teetering on the precipice of desire and duplicity. It constitutes a cinematic opus adorned with performances that merit acclamation on the grandest platforms, a narrative parable woven by a virtuoso raconteur, and an enduring resonance that reverberates far beyond the silver screen. This, dear audience, is a sublime ode to the art of filmmaking-a composition of emotion, intrigue, and revelation poised to inscribe itself unapologetically within the hallowed chronicles of cinematic excellence.