Max’s Salem’s Lot Review: The New Adaptation Squeezes Stephen King’s Story But Is Sustained By Its Characters And Scares

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Max’s Salem’s Lot Review: The New Adaptation Squeezes Stephen King’s Story But Is Sustained By Its Characters And Scares

As a long-time Constant Reader who has journeyed through countless Stephen King novels and their adaptations, I must say that Gary Dauberman’s adaptation of “Salem’s Lot” is a solid addition to the King filmography. While it may not reach the heights of some of my favorites, like The Shining or Misery, it certainly holds its own against other adaptations and delivers an engaging horror experience.

Adapting Stephen King novels into films often requires condensing the content significantly. Even lengthy adaptations like Frank Darabont’s 189-minute version of “The Green Mile” and Mike Flanagan’s 180-minute director’s cut of “Doctor Sleep” combine characters and omit subplots from their original stories. Despite the novels’ cinematic qualities, this is a testament to King’s writing style, as his fiction doesn’t just portray lives but whole universes.

Salem’s Lot

Max’s Salem’s Lot Review: The New Adaptation Squeezes Stephen King’s Story But Is Sustained By Its Characters And Scares

Debut Date: October 3, 2024 (on Max)

In the past, filmmakers have often overcome this challenge by transforming books into miniseries rather than full-length films, such as “Salem’s Lot.” This novel, which was King’s second publication, isn’t one of his longest works, but it has fit more comfortably within the extended space offered on the small screen. The book’s unique aspect lies in its depiction of a gradually spreading vampire infestation in the abbreviated title town. By airing as a two-part television series, this narrative unfolding was made possible.

With the past in view, director Gary Dauberman has broken tradition in his latest adaptation of “Salem’s Lot“. As anticipated, the medium plays a significant role. Unlike the extended episodes of previous miniseries, this version clocks in at over an hour shorter, resulting in a distinct tempo and atmosphere. This change necessitates a shift in expectations from King’s devoted readers, but it’s crucial to note that the essence of the novel endures: an exhilarating story of terror centered around vampires, featuring a group of captivating characters battling against the malevolent forces of darkness.

In this rephrased version: Lewis Pullman portrays Ben Mears, a writer, who journeys back to Jerusalem’s Lot, Maine, his childhood town, to revive old memories and work on his new novel. His homecoming coincides with the arrival of Richard Straker (Pilou Asbæk), a newcomer who runs an antique store with an enigmatic partner named Kurt Barlow (Alexander Ward). Soon after, strange occurrences begin to plague the town, starting with the mysterious disappearance of Ralph Glick (Cade Woodward), a young boy who went missing while walking home from a friend’s house. As the events escalate, they seem to spread like a malignant disease.

Initially regarded as a suspect by the town due to his outsider status, Ben gradually comprehends the true situation following Matthew Burke’s survival of an attack. Alongside friendly English teacher Matthew, Susan Norton, a determined and ambitious woman, local physician Dr. Cody, a troubled priest Father Callahan, and young monster expert Mark Petrie, Ben embarks on a mission to save Salem’s Lot by eliminating the evil at its core.

Salem’s Lot is missing the scope of Stephen King’s book, but it has a lot of good ideas.

Originally slated for a 2022 theater debut, followed by an extended hiatus on the shelf, the streaming release of Salem’s Lot might raise eyebrows due to potential quality issues, but rest assured, that is not the case. This horror film takes time to flesh out the characters and their relationships during a period of intense turmoil, a hallmark of Stephen King’s narrative style. Although some parts seem hurried and fail to match the grandeur of the original work, it compensates with clever plot twists and an appealing aesthetic.

Instead of introducing modern technology like cell phones, the film cleverly preserves the mid-1970s setting of the original story, and pays homage to Tobe Hooper’s cherished adaptation of Salem’s Lot in various aspects, notably the terrifying appearance of Kurt Barlow. Despite this, it still manages to be genuinely frightening by blending familiar elements with its own inventiveness. For those acquainted with the book/miniseries, they know to expect Danny Glick appearing outside Mark Petrie’s window, but Dauberman still effectively startles viewers with that moment. The director and cinematographer Michael Burgess skillfully utilize silhouettes in the eerie scene where Ralph is kidnapped (leading to a tense first person perspective sequence prior to his death), and while I won’t reveal too much to avoid spoilers, the movie innovatively employs a drive-in theater as a crucial setting.

The film brings together a great cast to play the personality-filled ensemble of heroes.

Some cuts are more surprising and disappointing than others – like Ben Mears’ traumatic personal history at the Marsten House where Straker and Barlow live and the episodic instances of locals being attacked – but the movie does still effectively breathe life into the characters with dedicated time and wonderful performances. Lewis Pullman has a unassuming charm that is well-suited for the main protagonist in search of his next chapter, and the actor has terrific chemistry with co-star Makenzie Leigh, whose sweet bright-eyed Susan is filled with ambition and thrilled at the prospect of leaving The Lot.

In Salem’s Lot, Mark Petrie is given a strong sense of resistance by Jordan Preston Carter that makes him stand firm against bullies. Bill Camp delivers the ideal amount of seriousness as Matthew Burke to convince others of the genuine supernatural threats in the Maine town. Alfre Woodard and William Sadler both shine in their roles – she portrays a woman of science who becomes enraged when confronted with real monsters, while he plays a lawman who openly shows his disinterest.

Among Stephen King’s extensive film catalog (over 50 movies so far), Gary Dauberman’s “Salem’s Lot” lands somewhere in the middle – it’s not poor, but it’s not outstanding either. It’s unfortunate that it won’t be shown in theaters, but it will undoubtedly provide enjoyable streaming viewing during Halloween 2024. At least this way, the film doesn’t get erased to secure a tax break for the studio.

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2024-09-26 07:37