An Open Letter to Anton Yelchin; Rest in Peace

Dear Anton,

I’ve been addicted to film for as long as I can remember. The one genre that’s always called to me has been the horror genre. Fear does something special for me. It makes me feel alive, like no other genre of film can manage. I love horror so much that I’ve all but dedicated my life to it. I make the bulk of my living covering the genre for notable media outlets both stateside and overseas. It’s one of the few things I enjoy doing.

But enough about me – I’m just another face in the crowd. Let’s talk a little bit about you.

I wasn’t very familiar with your work, until Terminator: Salvation came along seven years ago. The movie itself was decent, and probably a lot better than most critics would have the layman believe. One of the shining aspects of the film was, no doubt, your performance as a young Kyle Reese. Not only did you bear an uncanny resemblance to a young Michael Biehn, you absolutely killed it. We could see the grown Kyle Reese we met in the original Terminator, evolving and developing into a warrior, all through a young man’s eyes. You did the part justice and then some, and for that I thank you.

After Terminator: Salvation I knew I’d be tuning into your career. What can I say? You impressed the hell out of me.

A few years passed before it was announced that you’d be fronting Fright Night. The story initially made for a beloved 80s vampire flick, so naturally the jokers in Hollywood decided it needed the CGI-heavy remake treatment. While the picture lost me outside of the first act, you did the character of Charley Brewster true justice, and that came as a major, major surprise, as screenwriter Marti Noxon did everything possible to completely assassinate Brewster’s character, turning him into a douche bag wanna-be popular kid, as opposed to the offbeat, distracted but likable teen we met way back in 1985. Even working with that material, you delivered something very human in that performance. A degree of remorse – or human conscientiousness, perhaps – and relatability that was needed in a major, major way. Fright Night boasted two redeeming qualities: one was Colin Farrell’s depiction of the suave bloodsucker Jerry, the other was your depiction of the aforementioned Brewster. The two of you saved a train wreck of a CGI – I mean, of a film.

While Fright Night was a solid platform for you, Odd Thomas was on an entirely different level. Odd was a character you were born to play, and that showed in the film. A frantic tale that centered around chaos and clairvoyance, you owned the picture as though it was yours and yours alone. I applaud you for that showing, and I’m fairly certain that Dean Koontz, who authored the tale, watched with pride as you brought his magnetic character to life. It was great work, sir, plain and simple.

Jim Jarmusch’s beautifully assembled Only Lovers Left Alive made for a fine romantic genre piece, and again, you held your own and more, alongside fellow greats like Tilda Swinton, Tom Hiddleston and Mia Wasikowska. That’s no easy feat. But, that’s irrelevant, as it seems you never allowed any production, or story to be bigger than you. Perhaps that was a mirrored reflection of who you were as a person; magnetic and commanding, all while disarming courtesy of boyish good looks. I imagine your presence caught more than a few off-guard, both on screen and off.

Joe Dante’s Burying the Ex once more thrust you into the lead role of a light-hearted but deceptively dark picture. The premise, which sees a decent guy find it impossible to escape his imposing girlfriend, even in death, wasn’t uncharted territory, but it was good fun, and a large part of that fun was spawned by your memorable, and oddly lovable performance. It’s a good film that too few people have seen. And, for those who haven’t seen it, I’d implore a notion to seek it out. Whether the idea behind the story captures hearts or not, your work as Max most certainly will.

Before I wrap up this little letter, I’ve got to bow in respect. Before the good lord called you home you put in some stellar work. We’ll be fortunate enough to see you in the forthcoming Star Trek film, but for those who’ve stood behind you for years, Green Room is a must-see. An often ultraviolent affair, you brought charisma and energy to a black story. You brought that Yelchin flare that filmmakers clearly adored; that guys like me – just your run of the mill fan – also adored. Green Room may be too intense to win over hearts unanimously, but it’s a purchase in waiting for anyone who can call themselves an Anton Yelchin fan.

I’m obviously one of those fans, buddy. And although you’re no longer here, on this earth, the body of work you left behind is nothing short of amazing. It’s unforgettable. You, young man, are unforgettable.

Over the last couple of years we’ve seen a few genre greats depart the world. Christopher Lee and Wes Craven left us feeling alone and teary eyed in 2015. But those men lived full, rich, rewarding lives. They carved out unrivalled careers in which we’ll always be able to look back on – thanks to film – and smile, fond memories swirling about in our brains. You, sadly, were not afforded that same stretch of life to produce countless pieces of brilliance in celluloid form, but what you did leave behind isn’t going to be forgotten any time soon. For those of us who stood behind you, and cheered, through good and bad, your legacy will live on forever.

Rest in peace, Anton. 27 years was far too few for a talent as overwhelming as yours. Be sure you share a little bit of that magic with the company you now keep.

Until I see you on the other side, brother, you will be missed.

• Matt