SALEM’S LOT Offers Vampire Horror to Sink Your Teeth Into

Like the classic depiction of a vampire, the film adaptation of Salem’s Lot from Warner Bros. almost didn’t see the light of day. Its initial announcement happened over five years ago in March 2019 and filming didn’t commence until over two years later. Salem’s Lot was set for a September 2022 release, then April 2023, then no release date at all after being pulled from the company’s theatrical schedule. Now, the film is heading straight to Max on October 4. Some people may believe this move is a reflection of the film’s quality, or lack thereof. But that’s not the case. Salem’s Lot brings the intensity, gore, and scares that one desires in a vampire story and uses the skeleton of Stephen King’s source novel to craft new elements that you’ll want to sink your teeth into. 

Salem’s Lot—written and directed by Gary Dauberman of The Conjuring Universe fame—follows Ben Mears (Lewis Pullman) on a chaotic journey. He’s writer who returns to the sleepy Maine town of Jerusalem’s Lot where he lived until he was 9. It is 1975 and Mr. Mears is looking for inspiration to craft a book that will garner better reviews. He soon meets a few key residents in “the Lot,” all of whom are curious about his unexpected appearance. Sparks fly between Ben and Susan (Makenzie Leigh), a real estate assistant with a sexist boss. She dreams of leaving home, but her lonely and controlling mother Anne (Debra Christofferson) doesn’t want that.

Meanwhile, eleven-year-old Mark Petrie (Jordan Preston Carter) is also new to town and trying to adjust with his mother June (Fedna Jacquet) and father Henry (James Milord). He makes quick friends with ill-fated brothers Danny and Ralphie Glick (Nicholas Crovetti and Cade Woodward, respectively). They are fascinated by how he’s not afraid of school bullies, vampires, monsters, or anything else that haunts kids. Mark also loves magic, clearly displaying a propensity to believe in what others do not. Ben Mears may be the main character, but Mark Petrie is the true star of the show. That kid consistently stands on business! He’d fit in really well with the kiddos from Vampires vs. the Bronx. Carter holds his own against heavyweight talents like Pullman and Alfre Woodard. His future in any genre is as bright as the sunrise. 

Everyone’s having a relatively good time until things go awry. This is thanks to Kurt Barlow (Alexander Ward) and Richard Straker (Pilou Asbæk), a new European duo who live in the formerly abandoned Marsten House. Interestingly, Barlow & Straker’s Fine Furnishing store seems to only have the latter in the building during the day. Why? Well, Barlow is a vampire and Straker is his human familiar. Ralphie’s disappearance and Danny’s subsequent death send the town into a slow downward spiral. Teacher Matt Burke (Bill Camp), Ben, Sarah, Mark, resident medical expert Dr. Cody (Woodard), and others soon arrive at the same horrifying conclusion. Barlow is a vampire who’s slowly turning the Lot into a deadly haven. (Sidenote: I love it when people quickly buy into the absolutely wild thing that’s clearly happening to them. All of these characters do it well and are so wonderfully imaginative and bold.) 

Salem’s Lot is exactly what a vampire movie should be: engaging and fun with some genuinely spine-chilling moments. It doesn’t get so caught up in establishing lore and answering every single question that it falls on its face. There are a few well-placed zingers, jump scares and shocks that don’t feel cheap, and tense action moments. If you’re trying to see a lot of vamps in your vamp movie, they are there. And boy do they look creepy. If you want to see some serious bloodsucking action, you will find it here. Salem’s Lot’s characters are vibrant and the dialogue is witty and snappy. The film’s nearly two hour runtime doesn’t fall victim to the typical horror plague of plot sagging and padding. The buildup isn’t rushed but it is steady. Once the story locks into the main action, it is time to hold on for the ride. 

Quite a few intense moments will probably resonate with viewers, thanks to deft direction and lovely cinematography from Dauberman and Michael Burgess, respectively. Witnessing Ralphie’s abduction and eventual death partially from his panicked perspective is delightfully disturbing. The idyllic setting cleverly shifts with each passing day. Newspapers pile up on lawns and full bottles of milk sit on the porch. Death and quiet hang in the air. And, at one point, there’s a stake through a vampire’s heart with a sign attached that says “The Show Starts at Sundown.” Truly chef’s kiss material. 

I must say, it would have been nice to experience this film on the big screen. But something about it coming to a small screen speaks more to its old-school horror heart. Salem’s Lot already has its fanbase and this film feels primed to gain a fresh following that could make it a beloved seasonal fave.

There’s much to be said about its themes of small towns’ facades, secrets, and their metaphorical and social grips on residents. Their subsequent fading often goes unnoticed by larger society. The concept of outsiders being both the detriment and the saviors of a small town’s status quo plays well here. That grip which won’t allow someone to leave resonates through a couple of deaths. There’s one specific demise of someone who nearly makes it out alive, only to die in a brutal fashion. I don’t like it.

The kill certainly isn’t illogical. However, the optics of that moment, taking the Lot’s very obvious lack of diversity into consideration, leave a nasty taste that dampens the third act. It’s very much so giving sacrificial lamb.

Surely some book purists will not like several of the creative liberties taken. But those who aren’t familiar with its source material or choose to engage with Salem’s Lot as a unique offering will enjoy the film’s ingenuity and very meta nature.

Nevertheless, Salem’s Lot is quite good, actually. Not every horror film (or any other genre, for that matter) needs to always produce something that is radical or culture shifting. Things can simply be entertaining and have qualities that make them rewatchable. So if that’s what you’re looking for, fire up Max and get ready to stream Salem’s Lot on October 4.