Salem’s Lot has been a beloved Stephen King guide for almost 50 years, and has already been tailored twice. The Maine city whose quaint exterior masks an intense vampire downside finds its manner again on the map because of Gary Dauberman’s new function, initially slated for a theatrical launch earlier than being shuffled to Max. It affords a golden-hued nightmare that admirably commits to its Seventies setting, however doesn’t fairly nail the weather which have made King’s story so enduring.
Maybe it’s simply that Salem’s Lot, a doorstop of a guide as many King novels are typically, isn’t fitted to containment right into a film that runs below two hours (each earlier diversifications have been TV miniseries, and hovered nearer to a few hours). Whereas there’s a transparent protagonist—novelist Ben Mears, performed right here by Lewis Pullman (Outer Vary, Classes in Chemistry, Thunderbolts*)—the guide additionally provides area to a number of different Salem’s Lot residents, introducing them and exploring their twisted internal lives. The reader has ample time to comprehend the place isn’t as healthful because it seems even earlier than a supernatural menace lurches into city.
King additionally devotes plenty of phrases to probably the most distinguished landmark in Salem’s Lot: the Marsten Home. The crumbling mansion with a tragic previous looms over the city, broadcasting a relentless reminder that darkness can fester in even probably the most idyllic communities. Its sinister attract is what attracts Ben, who lived in Salem’s Lot as a toddler, again to city; it’s recommended alongside the best way that the home is definitely intertwined with evil itself, making it the proper HQ for a touring vampire.
In case your first encounter with Salem’s Lot is Dauberman’s movie, nevertheless, you may not choose up on… any of that. The Marsten Home is a part of the story, certain, however its significance feels diminished. Particulars about its historical past are relegated to a montage within the opening credit, a fast dialog or two, and a few library microfiche scrolling. Whereas it’s understood and even anticipated that any adaptation will take liberties with its supply materials, audiences must also be given sufficient element that they will simply sit down and luxuriate in a film or TV sequence with out having learn what got here earlier than.
The characterization of Ben Mears might be the largest stumble on this tackle Salem’s Lot. Within the guide, Ben is haunted by an encounter he had within the Marsten Home many years in the past after getting into on a kiddie dare; he’s additionally grieving the far more moderen lack of his spouse. Each particulars are absent right here. As an alternative, all we get is that Ben is a semi-successful writer whose most up-to-date guide acquired middling opinions; he’s returned to Salem’s Lot, the place his mother and father died 20 years prior, hoping that reconnecting along with his youth will spark recent inspiration. Pullman’s efficiency doesn’t add a lot depth; it looks like he’s skating throughout the floor, at the same time as Ben’s drawn right into a romance with the one cool lady on the town (Makenzie Leigh as Susan Norton) and befriends native trainer Matt Burke (Invoice Camp).
His circle additional grows when, every week into his keep, the machinations of Richard Straker (Pilou Asbæk, sadly underused) and his vampire grasp, Kurt Barlow (Alexander Ward), escalate from “vintage retailer opening quickly” to “bloodsucking chaos,” and we meet Dr. Cody (a splendidly wry Alfre Woodard), Father Callahan (John Benjamin Hickey), and tweenage horror fan Mark Petrie (Jordan Preston Carter).
They band collectively to battle again, however with out the groundwork laid to counsel what’s taking place in Salem’s Lot is a cosmic inevitability—the sheriff, performed by the nice William Sadler, declares at one level that the city is dying and that’s why Barlow settled there, an statement that appears plucked from skinny air—it feels a bit like Ben simply occurred to choose the worst doable second to go to.
There are different flaws within the script—there’s some heavy-handed foreshadowing, like a harmonica seemingly launched solely in order that it could possibly present a spooky sound impact just a few scenes later—however Dauberman’s apparent affection for his setting, maintaining Salem’s Lot in 1975 identical to King’s guide, is totally a optimistic right here. The manufacturing design and cinematography keep true to the retro vibes, and the addition of a drive-in theater proves a interval excellent element that brings a nifty dimension to the story.
The particular results, nevertheless, don’t sustain the classic really feel, particularly with regards to one notably memorable CG shot (you’ll understand it whenever you see it). There’s undoubtedly extra gore than we’ve ever seen in a Salem’s Lot adaptation—a bonus of not being made for broadcast TV—however it doesn’t go excessive. Sadly, it’s by no means very scary, with leap scares doing the heavy lifting and “Character X, why did you try this dumb factor?” supplying an terrible lot of the strain.
And possibly that’s the final downside with this Salem’s Lot. It’s entertaining and it follows the final contours of King’s well-loved story, however it doesn’t convey a lot of something new to the desk aside from the drive-in scenes. With out that sense of creeping dread—that the Marsten Home is a focus of unholy power that’s been infecting the city for generations—it looks like an adaptation that’s each trustworthy but additionally curiously lacking among the most fascinating components.
It’s not a unhealthy film. It’s price including to your Halloween-season viewing queue. However watching it, you’ll perceive why Warner Bros. opted for a streaming launch—and certain agree with the choice.
Salem’s Lot arrives October 3 on Max.
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