The latest remake of Stephen King’s 1975 horror novel ‘Salem’s Lot has finally hit theaters after spending two years in post-production limbo. Directed by Gary Dauberman, known for his work on The Nun and It: Chapter One, this film had high expectations but ultimately delivered a mixed reception from audiences and critics alike.
The story, like the original, revolves around Ben Mears, a writer who returns to his hometown of Jerusalem’s Lot, Maine, only to discover that the quiet town is being overrun by vampires. As Mears, played by Lewis Pullman (Top Gun: Maverick), digs into the mysteries of his past, he uncovers that a local haunted house has been bought by two enigmatic figures—Richard Straker (Pilou Asbæk) and Kurt Barlow (Alexander Ward). While Straker appears as a mysterious human caretaker, Barlow is revealed to be a Nosferatu-esque vampire, terrorizing the town as he turns its residents into creatures of the night.
Despite its compelling cast and eerie setting, critics have pointed out that the film struggles to balance its characters and pacing. With its limited runtime of just under two hours, the movie has been criticized for rushing through key story moments and underutilizing several characters. For example, Bill Camp, who plays the teacher Matthew Burke, shines in his few scenes but is given little to work with overall. The same goes for John Benjamin Hickey’s portrayal of Father Callahan, a character central to the novel but sidelined here.
Makenzie Leigh’s portrayal of Susan Norton, Ben’s love interest, is similarly underdeveloped, leaving the romantic subplot feeling superficial. The lack of attention to character development has been a major drawback, as Salem’s Lot is a story that thrives on atmosphere and interpersonal tension—a quality the 1979 miniseries adaptation by Tobe Hooper managed to nail with its lengthier format.
However, Salem’s Lot does have some redeeming moments, particularly in its visual style. Dauberman’s experience in the horror genre shows through in several effective jump scares and the chilling design of the vampires. Cinematographer Michael Burgess and editor Luke Ciarrocchi also brought their A-game, crafting visually striking scenes with an old-school horror vibe that pays homage to classics like Dracula.
Ultimately, the remake doesn’t quite match the emotional depth or atmospheric tension of King’s novel or the original miniseries, but it does deliver a fair share of thrills. It’s a fast-paced ride with more focus on gore and action than on building dread, which may appeal to newer fans but could disappoint King purists. Given its rocky production history, some fans may just be relieved that Salem’s Lot finally made it to the screen at all.
For a film that’s been in the making since 2021, Salem’s Lot could have been so much more. Dauberman’s take ends up as a middling addition to the pantheon of Stephen King adaptations—not the worst, but certainly not the best either.