The latest Stephen King adaptation, Salem’s Lot, struggles to find its footing but delivers with its spooky atmosphere and great cinematography. Join us as we review Gary Dauberman’s Salem’s Lot.
This review was made possible by screeners courtesy of Warner Bros. Pictures and Max.
[Editor’s Note: Review altered to reflect fact-checking.]
Published in 1975, Stephen King’s Salem’s Lot follows a man who goes back to his hometown, and discovers that the citizens are becoming vampires. The novel was adapted into a two-part miniseries just four years later in 1979, directed by Texas Chainsaw Massacre’s Tobe Hooper. The story would receive a new miniseries adaptation just 25 years later, and now, 49 years after the book was initially published, a new adaptation is set to grace the screens.
Salem’s Lot is directed by horror’s own Gary Dauberman who reunites with producer James Wan following a stint in Warner Bros. The Conjuring universe. The movie retains the same core plot of the book and its previous adaptations, but with updates to reflect the more modern-day aesthetic within. That alone sets itself apart from the 1979 miniseries, the one other adaptation of the novel I’ve seen.
This new movie stars Lewis Pullman (Outer Range, Thunderbolts*) as Ben Mears, an author who goes back to his hometown of Jerusalem’s Lot, and finds things aren’t as they used to be. Due to the script and a range of great actors, the film is well-paced and an easy watch. Starring a supporting cast consisting of Makenzie Leigh, Alfre Woodard, William Sadler, Pilou Asbæk, and Bill Camp, they do well with the material and make for an enjoyable time. Pullman serves as a great lead, while not a typical final man, he steps up and gives a compelling performance. The highlight of the film performance-wise to me is an especially charismatic Pilou Asbæk, who has most recently starred in Zack Snyder’s Twilight of the Gods, where he also gave a standout performance.
The story here is good, but not executed especially well. It works for what the movie needs to be but lacks any depth for the movie to take it to the next level. The story utilises the setting of this film and its small-town vibe to feel unique and exciting. This is something I can tell Dauberman carried over from his work on Andy Muschietti’s IT duology. What is most applaudworthy about this film, in my opinion, are its effects.
The special and visual effects teams do wonders, creating a thoroughly immersive and enjoyable time, as well as a great spooky atmosphere. The lead vampire of the film, Kurt Barlow, is a bit of a downgrade both visually and storywise in comparison to the original film. Sure, the actions here are scarier and slightly more heinous, but Reggie Nalder’s 1979 portrayal is far more iconic in comparison the one in this film, with even the effects taking the cake in the older adaptation.
This atmosphere is where the film is make or break, and it draws the line right between campy, and D-grade schlock. Thankfully, it is more of the former even though the latter is also present in parts. This is also thanks to the great Robert Burgess, who is only just starting his career as a cinematographer, previously having worked as a camera operator on Logan, Aquaman, and The Conjuring 2. He knows what the assignment is and overdelivers in one of the best shoots of his career.
The film struggles to justify its existence but stands alone as an enjoyable time that knows what it wants to be and achieves that. Featuring some solid performances, and great technical elements, this movie is a great pick for something to pass the time with this Halloween season.
Salem’s Lot is directed by Gary Dauberman and produced by James Wan via his Atomic Monster company. The movie stars Lewis Pullman, Makenzie Leigh, Alfre Woodard, William Sadler, Pilou Asbæk and Bill Camp. Salem’s Lot will begin streaming on Max on October 3rd, 2024.
Thanks for reading this review and we hope you have a great spooky season.
