was not yet in use
Synopsis
An author returns to his hometown of Jerusalem’s Lot in search of inspiration for his next book, only to discover that the townspeople are being attacked by a bloodthirsty vampire. The remake of Salem’s Lot is making vampires scary again. He wants to get away from the sexier, more romantic undead that have infested pop culture for much of the past quarter-century, thanks to everything from Interview with the Vampire to Twilight to The Vampire Diaries. The book’s headline reads “Local Couples Victimize.” of DUI”. The document was supposedly printed in 1956, at a time when the term “DUI” was no longer in use. Featured in Half in the Bag: The 10 Best Horror Movies (2024) Part 1 (2024).
Here none of that exists
SundownWritten and performed by Gordon LightfootCourtesy of Warner RecordsBy arrangement with Warner Music Group Film & Television Licensing. This new adaptation of the Stephen King classic, “Salem’s Lot,” is a missed opportunity James Wan. The result is a mediocre, bland, lifeless product. King’s strong suit has always been his focus on the human element: characters and how their relationships inform the narrative and provide an emotional core to his stories. It seems, based on what remains, that director Dauberman had an idea of how to tell the story while staying true to the source material. His approach as a director is simple, almost naive, but for a story like this, it could have worked.
Alfre Woodard (Dr
Any semblance of life has been The film is sucked dry (probably in the editing room), leaving behind what I’d call “uncinematic.” The pacing is so fast it’s annoying, making it impossible to care about the one-dimensional characters, who exist more as narrative devices than actual people. The visual style doesn’t help either, as it’s reminiscent of The Conjuring series: visually slick, sanitized horror aimed at the masses. The few character-driven moments seem shot for efficiency purposes, with the most basic framing, blocking, and composition, rather than any attempt to convey real emotion. Cody) gives a performance that’s a cut above the rest. Makenzie Leigh (Susan), John Benjamin Hickey (Father Callahan), and Lewis Pullman (Ben Mears) all do the best they can with the material in that order. The younger actors are fine, but everyone else…
not so much
A couple of the performances are even laughably bad. If anything, the characters seem one-dimensional despite the actors’ attitude. best efforts, it seems fitting that the main antagonist can’t even be described as such. His only discernible trait seems to be saying “Bleaarrggghh” before feeding on his next victim. There’s virtually no blood or gore and most of the violence occurs off-camera. The score and sound design are serviceable but far from memorable, and do little to enhance the story’s nonexistent emotional impact.
The production values are clearly there, though
After nearly two hours of nothing, the film devolves into a dull, pointless, and pointless “action-packed” ending (keep an eye out for the sun moving at plot-convenient speeds). The sequence is rounded out with poor CGI and has one of the most anticlimactic endings I can recall. Even if it was never going to be a masterpiece, there was an opportunity to make an emotionally resonant film with the ongoing theme of small-town American fear of the “outsider.” What we’re left with is a sizable, bloated slice of nothing. is one of the biggest TV and streaming premieres this month. Check out our October calendar for more information!
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