‘Salem’s Lot’ Review: The Redux of the Stephen King Adaptation is Good, but Rushes Towards the End

I won’t lie, I’m a bit of a sucker for a Stephen King adaption. That’s not to say they always work—”IT” is one of my favourite novels of all time, yet the latest remakes fell short for me—and don’t even get me started on Hitchcock’s “The Shining.” Regardless, though generally hit and miss, I can’t help but be intrigued to see how each movie or TV series adaptation of King’s works—there seeming to be so many as of late—pan out. 

“Salem’s Lot” isn’t one that I’m overly familiar with, having read the 1975 novel a fair few years ago. And vampire movies are another sub-genre of horror that make me a bit nervous. If done well they’re great, but the odds of this happening can be rather slim (please, please let the upcoming “Nosferatu” be a success…). But the trailers looked promising and despite missing a showing at the movie theatres, I decided to pay a somewhat extortionate price on Amazon and rent it in the comfort of my own home. 

Another King Redux

And was it worth the almost bankruptcy, do I hear you ask? I’m inclined to say so. Don’t get me wrong: if you’re looking for a completely fresh take or revamp (pardon the pun) of the vampire genre, you’ll be slightly disappointed as “Salem’s Lot” is, essentially an abridged retelling of “Dracula.” However, what won me over—and I think this in large part a strength of Stephen King’s storytelling—is how it pulls you so seamlessly into the story, creating a sense of place and community, that feels both authentic and nostalgic, and filling it with characters that just fit.

The narrative focuses on former resident Ben Mears (Lewis Pullman) who, after a tragic family loss, returns to town to work on his writing career. However, he soon finds out that the town is under siege by a bloody thirsty vampire gradually taking over the small community. It’s all very “Dracula” in this sense; a big old coffin suddenly arrives in town, the overbearing, sinister house on the hill that everyone avoids, the selecting of the servant who is undertakes boss man vampire’s dirty work. 

Captured Small Town Hysteria

Yet despite this, what I enjoyed about “Salem’s Lot” is that it brings the well known vampire story into the modern age with a new lease of life, and a story that centres around a much younger cast. Though I tend to fall in and out of love with his writing, what I do appreciate about Stephen King is his ability to speak for and represent a younger generation, often casting children as the heroes of the story. By doing so, he shows that strength resides within us all, whatever age we may be. And Jordan Preston Carter plays this role well; as the new kid in town, he shows courage from day one by standing up to the school bully and remains steadfast in his commitment to freeing his friend, Danny (Nicholas Crovetti). 

And though I wouldn’t explicitly class this as a horror in the traditional sense, there are some nicely put together scenes and shots that did send a slight shiver up my spine. It can be tricky to truly master the look of the vampire, especially as it’s been done countless times. However, I loved the glowing of the eyes and the moment (*spoiler*) where Danny appears at the window genuinely spooked me. It’s simple but effective and reminds me of the irrational fears that we all have as children—the monster under the bed, glowing eyes appearing at the window when you turn the lights out (that’s not just me, right?). 

Sin Can Be Easy to Spread

And I think the film really captured that sense of small town hysteria, with a community seemingly powerless to stop the evil seeping through its streets and homes. Again, another common trope used by King that works so well is the idea that malevolence and sin can so easily spread through a town that is already broken and diseased, with it often falling to the younger generation, the future leaders, to take a stand and fight. 

Disappointing for me, however, is in the movie’s lack of overall development. As is sadly the downfall of so many horrors, it sets the scene well, building curiosity and a sense of intrigue, but rushes through the latter half of the movie with a disappointingly quick and resolute end. Not to mention that when we do finally see boss man vampire (*spoiler*) it’s barely the blink of an eye before its all over. 

Rushes Through its Latter Half

I’m not the first one to say that there could exist somewhere a fuller, potentially epic version of this movie, but unfortunately this doesn’t quite hit the spot. I’d still recommend, but I don’t think you’ll be disappointed if you didn’t catch it on the big screen. And here’s to keeping fingers crossed that the upcoming remake of “Nosferatu” will be a triumph…