Based on Salem’s Lot by Stephen King, the 2024 adaptation drops us into a quiet town that becomes increasingly… not quiet. When darkness creeps in and people start acting a little too nocturnal, it’s clear something ancient, evil, and very hungry has moved in. What follows is a race to survive as Salem’s Lot slowly succumbs to the night.
Simple setup. Strong bones. Questionable execution.
Lewis Pullman, I’ll be honest: he’s meh here. His storyline feels oddly detached, like it wandered in from another draft of the script. Knowing he’s now cast as Sentry makes this sting less, because at least we know he’s capable of more. This just wasn’t it.
Pilou Asbæk as Straker? Intriguing presence… until he suddenly flips into full servant mode with zero buildup. One minute he’s mysterious, the next he’s Barlow’s loyal employee of the month. No transition, no psychological descent — just vibes.
And Mark? My guy has zero hesitation when it comes to killing, which is… wild. No moral conflict, no fear, no processing. Just straight to business like he’s been doing this since nursery.
Overall, performances aren’t terrible — but the script gives no one room to grow. Relationships form instantly, romance appears out of thin air, and friendships feel speed-run. It’s hard to connect with anyone when the film doesn’t bother letting us know them.
Now here’s where things actually shine.
The scene transitions are classic Stephen King energy — smooth, eerie, and deeply unsettling. The way the film glides from calm to dread is genuinely effective, even when the story itself stumbles.
Cinematography leans heavily into shadow, stillness, and creeping tension. The soundtrack hums ominously rather than screaming for attention, which works in its favour.
And credit where it’s due: Barlow’s design is excellent. Leaning into a Nosferatu-inspired look, he’s grotesque, disturbing, and properly unsettling. Easily the most memorable element of the film.
Here’s the big problem: the pacing is terrible.
The plot doesn’t develop — it shifts. Big moments arrive without weight, emotional beats don’t land, and revelations happen before they’ve earned the impact. It feels like entire chapters are missing.
This story absolutely should’ve been a series. Salem’s Lot needs time — time to sit with the town, to understand the people, to slowly let the horror seep in. Instead, everything is rushed, and the horror never fully breathes.
There’s also zero character development. We meet people, they bond instantly, fall in love instantly, and then face life-or-death stakes instantly. It’s hard to care when the film doesn’t invest in its own characters.
Book readers — genuinely — is the book better? Because if it is, this adaptation doesn’t do it justice.
When the film works, it’s atmospheric and creepy. When it doesn’t, it feels hollow. There’s a great vampire movie buried in here somewhere… it just never quite claws its way out.
Salem’s Lot (2024) has the look, the mood, and a terrifying villain — but it lacks patience, depth, and character. A rushed bite instead of a slow, haunting feast.
