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Narrative

An author returns to his hometown of Jerusalem’s Lot in search of inspiration for his next book, only to find that the townspeople are being attacked by a bloodthirsty vampire. Writer Gary Dauberman told Den of Geek in June 2019 that his goal with the new version of Salem’s Lot is to make vampires scary again. He wants to move away from the sexier, more romanticized undead that have plagued pop culture for much of the last quarter century, thanks to everything from Interview with the Vampire to Twilight to The Vampire Diaries. When Ben reads through old newspapers on microfilm in At the Library, a headline reads “Local Couple Suffers DUI.” The newspaper was reportedly printed in 1956, at a time when the term “DUI” was no longer in use. References Trog (1970). SundownWritten by and starring Gordon LightfootCourtesy of Warner RecordsBy arrangement with Warner Music Group Film & TV Licensing.

Here, none of that exists

This new adaptation of Stephen King’s classic, “Salem’s Lot,” is a missed opportunity. It is now well known that the film fell victim to studio interference, both on the part of WB and producer James Wan. The result is a mediocre, bland, lifeless product. King’s strength has always been his emphasis on the human element, the characters, and how their relationships inform the narrative and provide an emotional core to his stories. It seems, from what remains, that director Dauberman had an idea about how to tell the story while remaining faithful to the source material. His directorial approach is simple, almost naive, but for a story like this, it could have worked.

Alfre Woodard (Dr

However, any semblance of life has been sucked out of it (probably in the editing room), leaving behind what I had imagined would be called a “non-movie.” The pace is so fast it becomes boring, making it impossible to care about the one-dimensional characters, who exist more as narrative devices than real people. The visual style doesn’t help either, as it’s reminiscent of The Conjuring series – a visually stylish, sterilized horror aimed at the masses. The few character-driven moments seem shot for efficiency, with the most basic framing, blocking, and composition, rather than any attempt to convey real emotion. Cody) delivers a performance that is a cut above the rest. Makenzie Leigh (Susan), John Benjamin Hickey (Father Callahan), and Lewis Pullman (Ben Mears), in that order, do their best with the material. The younger actors are fine, but everyone else… not so much.

Some performances are even laughably bad

While the characters seem one-dimensional despite the actors’ character, they are laughably bad. At their best, it seems fitting that the main antagonist can’t even be described as such. His only discernible trait seems to be “Bleaarrggghh.” before feeding on his next victim. There is virtually no blood or gore, and most of the violence occurs off-camera. The music and sound design are serviceable but far from memorable, doing little to enhance the story’s nonexistent emotional impact. After nearly two hours of nothingness, the film devolves into a boring, mindless, and meaningless “action-packed” finale (keep an eye out for the sun moving at plot-appropriate speeds).

The production values ​​are definitely there, though

The sequence is topped off with poor CGI and one of the most disappointing endings I can remember. Even if it was never meant to be a masterpiece, there was a chance to make an emotionally resonant film with the current theme of small-town American fear of “the outsider.” All we’re left with is a heavy, bloated serving of nothing. is one of this month’s biggest TV and streaming premieres. Check out our October schedule for more!

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