Has stood as a trusted companion to fans of horror and suspense for nearly five decades, a testament to the enduring power of its dark and twisted tale, which has twice claimed the top spot on bestseller lists. Port City’s charming facade belies a sinister allure that draws bloodthirsty visitors, yet it’s found new life as a destination thanks to, which was originally scheduled for an earlier time before being rescheduled to mid-March. The film masterfully conjures a nostalgic and eerie atmosphere, staying true to the essence of 1970s nostalgia, yet falls short in capturing the same magic that has made King’s narrative timeless.
Perhaps the issue lies in trying to compress a tome like this into a two-hour film, considering previous adaptations were sprawling TV miniseries clocking in at around three hours. As the novel’s transparent protagonist, novelist Ben Mears, portrayed with conviction by Lewis Pullman, takes center stage, the story also delves into the complex inner worlds of several other Salem’s Lot residents, expertly weaving together a rich tapestry of character-driven narratives. The city’s façade of wholesomeness is shattered before a supernatural threat materializes, giving readers ample opportunity to absorb its unhealthy undertones.
The Marsten House, a decrepit monstrosity looming over Salem’s Lot, receives copious attention from King as he masterfully weaves its dark history into the fabric of the narrative. The decrepit mansion, shrouded by a somber history, towers ominously over the city, serving as a haunting testament to the insidious capacity of evil to thrive even in seemingly tranquil settings. The malevolent allure of the city, where Ben’s childhood began, now draws him back to Salem’s Lot, its dark resonance entwining the place with an otherworldly evil, rendering it the ideal headquarters for a roving vampire.
If your first exposure to the franchise is a film by Dauberman, you might still find yourself unaffected by its entirety. The Marsten House’s role in the narrative is undeniable, yet its importance appears somewhat diminished. The particulars of its historical past are relegated to a succinct montage in the opening credits, fleeting dialogue exchanges, and brief glimpses of dusty archival records on microfiche. While artistic liberties are expected in adaptations, audiences still require a sense of familiarity and connection to the original material to truly immerse themselves without prior knowledge.
The nuanced portrayal of Ben Mears, however, remains a significant challenge in this narrative. Ben is tormented by a traumatic experience at the Marsten House, which dates back to his youth when he foolishly accepted a dare from kids. He’s also grappling with the recent loss of his wife. Everything appears to be missing from this place. Ben, a somewhat accomplished author, has just published a book that garnered lukewarm reviews; now, he’s revisiting Salem’s Lot, where his parents tragically passed away twenty years ago, in search of rejuvenated creative sparks through recapturing his youthful essence. While Pullman’s efficiency doesn’t significantly enhance the narrative depth, his performance does convey a sense of detachment, as if he’s skating across the surface of life. In contrast, Ben becomes deeply invested in a romance with the enigmatic Susan Norton (Makenzie Leigh) and forms a bond with local trainer Matt Burke (Bill Camp).
As his circle’s additional growth accelerates, week by week, Richard Straker (Pilou Asbæk, disappointingly underutilized) and his vampire overlord, Kurt Barlow (Alexander Ward), escalate their machinations from a “vintage retailer opening quickly” to a “blood-soaked chaos.” Meanwhile, we meet Dr. Cody, a wryly talented actress in the guise of Alfre Woodard, joins forces with Father Callahan, played by John Benjamin Hickey, and Mark Petrie, a devoted tweenage horror enthusiast portrayed by Jordan Preston Carter.
The group converges in a desperate bid to fight back once more; yet, without the crucial groundwork laid to grasp the cosmic forces at play, it’s as if they’re merely reacting to an unfolding inevitability—the sheriff, played by the accomplished William Sadler, solemnly declares that the city is succumbing to its mortality and that this desolate fate was precisely why Barlow chose to settle there, a remark that feels curiously disconnected from the narrative’s prevailing logic—it’s as if Ben simply stumbled into the worst possible moment to make his move.
While the script exhibits some notable flaws, including heavy-handed foreshadowing – such as a harmonica’s seemingly sole purpose being to create an ominous atmosphere that pays off a couple of scenes later – Dauberman’s evident fondness for his setting, maintaining 1975’s nostalgic feel identical to King’s original guide, is a definite plus. The manufacturing design and cinematography meticulously evoke retro charm, while the drive-in theater’s incorporation adds a clever layering to the narrative.
While the overall results are impressive, they lack a truly iconic moment, specifically with regards to one striking computer-generated visual effect that will be unmistakable when seen. While the gore exceeds what’s typical in an adaptation, this excessive content isn’t gratuitous, likely due to its non-broadcast television origins. Regrettably, this horror film relies too heavily on jump scares and contrived tension, reducing its frightful impact to a series of predictable and unconvincing moments.
And perhaps that’s the most significant limitation of this approach. While maintaining its lighthearted tone, this adaptation remarkably captures the essence of King’s original narrative, yet disappointingly adds little innovation to the table beyond the drive-in sequences. Without the unsettling aura – as if the Marsten Home exudes a malevolent energy that’s been poisoning the city for centuries – it presents itself as a faithful yet disappointingly incomplete interpretation.
It’s not a film. Is it worth adding to your Halloween-season viewing lineup? Despite viewing it, you will realize why Warner Bros. Opted for a streaming launch, and I wholeheartedly concur with that decision.
arrives October 3 on Max.
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