I’m always sort of impressed when someone makes a watchable Stephen King adaptation. His novels are often long, steeped in small-town lore, and loaded with enough intertwined characters that it can be hard to pick them apart. ‘Salem’s Lot, one of those stories, has always had a contentious adaptation history. Tobe Hooper’s 1979 television miniseries has long served as the definitive adaptation, complete with a cult following and even a theatrical sequel. TNT took another crack at the bat in 2004 with another miniseries, this time directed by Danish cinematographer Mikael Salomon. It was…a rough time. in 2020 a new adaptation was shot, one from longtime “Conjuring Universe” cinematographer Gary Dauberman. After endless reshoots, edits, and a long shelf-life, the film was abruptly shunted to HBO Max.
It’s not bad, honestly. Nothing that’ll linger, but definitely watchable.
Adding Top Gun: Maverick actor Lewis Pullman was a solid choice. The character of Ben Mears is a favorite of mine in King’s novel, one that looks to be the beginning of his trend of writing about writers in Maine. Pullman is a sturdy actor to build a film around, one that won’t steal the show with star persona or ego while still delivering a confident and fun performance. He’s paired with Makenzie Leigh (Billy Lynn’s Long Halftime Walk, The Assistant) and that’s where I struggle. The two have very little chemistry and seem to be in completely different movies, though the film’s runtime doesn’t exactly allow for anything to truly develop between them. Pullman’s turn as the lead gives him more time to work and he’s able to make something out of his character but so much is missing for both of these leads, leaving them lost in a sea of characters that are much more interesting.
Enter Jordan Preston Carter. Mark Petrie is as crucial a character to any adaptation of ‘Salem’s Lot as Ben Mears, and this kid knocks it out of the park. When you have to shave a lot of story to keep to a specific runtime that can lead your characters to lose development. Not so with Mark Petrie, who would be lost in the hands of a lesser actor. One of the fun things about James Cameron’s Aliens is its marines, who do not get any backstory and merely arrive onscreen fully developed. Dauberman’s script grants this gift to Jordan Preston Carter, allowing him to pop into the film ready to go and full of vitality. It’s a fun performance that stands out in a film that longs for a star.
The look of this entire film is sort of baffling. Parts of it look like it was shot as a direct-to-streaming miniseries while other parts embrace practical sets and colors not too far off from German Expressionist Horror. There’s a standout scene at sunset while two young boys are walking home through the woods, one that is eerie and upsetting while still remaining beautiful (and clearly shot on a practical soundstage, which I love). Other scenes, often reminiscent of Tobe Hooper’s miniseries, look like studio-executive-mandated cheap reshoots to call back to previous adaptations. Just a series of fascinating mismatches that I honestly can’t put on Dauberman, especially given this film’s long and public history of studio meddling.
You’re going to get what you take in with this one. Those ready to tear Gary Dauberman’s film apart are going to have plenty of opportunity to do so, particularly with the deviations the film takes from the novel. I just wanted a fun vampire movie that resembled the novel and I got that. It’s nothing that’ll blow you away, but it’s a fun time. Pop some popcorn, kick your feet up, and give Dauberman’s film a chance. You’ll have some fun.
‘Salem’s Lot is currently streaming on Max.
WRITE DRUNK; EDIT DRUNK 