Lewis Pullman in Max’s adaptation of Stephen King’s work

In the fall of 1975, writer Ben Mills (Lewis Pullman) returns to his childhood home in rural Maine, hoping the sleepy enclave can provide some inspiration. His previous books had been derided by critics. His publisher appears to be losing patience.

Ben spends most of his time in the library, his presence and research into the archives becoming the talk of the town. Budding real estate agent Susan Norton (Mackenzie Lee) catches his eye, and the two develop an easy friendship that eventually blossoms into romance. But just as Ben is settling in and assuaging the locals’ suspicions, one boy (Cade Woodward) disappears and another (Nicholas Crovetti) dies. It’s easy to wonder if this newcomer from the big city – quiet, strange – might be involved in some way.

Premiering on Max, Salem Lot This is an edited horror film that works in part thanks to some assured performances and key stylistic choices. However, unlike films based on Stephen King novels or Tobe Hooper’s popular 1979 miniseries, director Gary Dauberman’s new film abandons much of the small-town drama in favor of typical creature feature intrigue. happy.

This is a missed opportunity, as much of the horror in the narrative’s atmosphere comes from understanding the prejudices and petty dramas of this claustrophobic suburban setting. King said the cultural anxieties of the 1970s—particularly the widespread suspicion of CIA activities—influenced his thematic focus in the book. Part of what makes Barlow, the vampire at the center of the story (played in this version by Alexander Ward) so convincing, is his ability to tap into the fears of a tight-knit community.

Dauberman, best known for his work on the universe of “The House of Evil” annabell, Annabelle: Creation and Annabelle comes home, Casting director Rich Delia made some inspired choices that further complicated King’s story. Most notably, they created Mark (Jordan Preston Carter), a precocious freshman whose fearlessness arouses both the admiration and suspicion of his classmate Blake. But Dauberman’s script misses the opportunity to consider how Mark’s race is viewed in this predominantly white, seemingly conservative district.

Mark’s personality is typified by youthful impulsiveness, while Ben is played with gentle tone and bookish posture by Pullman (recently seen as a con man in a frivolous but entertaining thriller by Elizabeth Banks). They complement each other. Skin care products). As relative newcomers to this insular enclave of paranoid cops and gossipy ladies, Ben and Mark enjoy outsider status and are thrust into each other’s lives when a boy Mark considered a friend goes missing.

Ralph’s kidnapping is staged through the striking use of silhouettes, one of the few exciting stylistic choices that also includes a visual language defined by cool blues and even cooler oranges. It doesn’t take long for Mark to realize that a vampire is behind his friend’s disappearance. In order to save the community, he cooperates with the adults around him, including Ben, Susan, English teacher Mr. Burke (Bill Camp) and doctor Dr. Cody (Alfre Woodard).

Dauberman’s directorial confidence grew even more after the crew discovered that Barlow was trying to change the town. The action scenes are filled with thrilling moments—some funnier than others—that make salem lot Great for viewing with a crowd. Think too deeply, however, and the lack of stakes becomes too obvious to ignore. Ben and Mark’s relationship is at the heart of the narrative, and Carter and Pullman’s performances highlight how their characters connect and care for each other as a result of traumatic events. But they are so poorly developed that it is difficult to invest in their ventures.

part of the struggle for this reform Salem Lot is where Dauberman chooses to focus his attention during the narrow running time. At just under two hours long, this version pales in comparison to Hopper’s 1979 version or Mikael Salomon’s 2004 miniseries. In its rush to acquire monster material, the film abandons an enduring theme of King’s novel: the paranoia bred by a particular kind of life in suburban and rural America, where xenophobic attitudes blind people to the reality of their situation and what they think about their situation. More or less understanding.