Lengthy earlier than “True Blood” or “Twilight” introduced vampires to small-town America, horror author Stephen King imagined the creatures invading his yard in rural Maine (technically, a fictional place referred to as Jerusalem’s Lot). Till then, blood-sucking bat-men had been one thing solely Europeans needed to fear about, as Dracula and his castle-dwelling kin preyed on hapless villagers half a world away. Then got here “’Salem’s Lot,” King’s second novel by which the person who’d made witches a modern-day concern with “Carrie” requested American readers: What if an outbreak of vampirism struck your group?

A tepid new (technically, two years delayed) characteristic model returns to that query a half-century later, providing flashes of fashion and a extra satisfying finale in an in any other case weak tackle its dated supply materials. Whereas King gave the impression to be kicking one other stuffy outdated style into the current, writer-director Gary Dauberman’s retro-minded adaptation goes in the other way, embracing the pageboy haircuts, polyester-blend duds and don’t-trust-anyone paranoia of that period.

The movie takes place in 1975, the identical yr “’Salem’s Lot” was printed. You’ll be able to guestimate the interval from the film titles posted on the native drive-in theater marquee — “The Drowning Pool” and “Night time Strikes” — and the basic Gordon Lightfoot ditty, whose lyrics now function a nocturnal warning: “Sunset, you higher take care/If I discover you been creeping ’spherical my again stairs.” Hassle is, vampire lore has advanced a lot within the intervening a long time that Dauberman’s take comes throughout quaint and never practically as scary as the sooner Tobe Hooper-made miniseries (higher to fake the 2004 stab didn’t occur).

I haven’t seen Robert Eggers’ “Nosferatu” but, however I believe even that silent-movie remake gained’t really feel as oldfangled as “’Salem’s Lot,” by which the characters flip to comedian books for directions on tips on how to chase away the undead: utilizing holy water and crosses, which shine white of their presence. Nowadays, the sight of somebody repelling a vampire with a crucifix product of taped-together tongue depressors appears foolish, whereas I’ve heard tales of children who caught “’Salem’s Lot” on TV carrying popsicle sticks for that very same goal.

By the way, the principle vampire right here, a bald-headed coffin-dweller named Kurt Barlow (Alexander Ward), harkens again to Rely Orlok of “Nosferatu,” way over he does outdated Dracula. That’s one clue that that is basically an replace of the miniseries, not a return to the supply, the place King clearly had Bram Stoker’s subtle shape-shifter in thoughts. An excellent clearer signal is the acquainted silhouette of the Marsten Home, the Victorian-style homicide mansion acquired by Barlow’s assistant, Richard Straker (Pilou Asbæk). It’s an iconic property from which to unleash his plan: reworking each final resident of Jerusalem’s Lot in his grasp’s picture (i.e. to make all of them vampires).

Reasonably profitable creator Ben Mears (Lewis Pullman), who grew up within the space, returns to ’Salem’s Lot at roughly the identical time Straker is organising an vintage store downtown. Each males have skeletons of their closets, although solely Straker’s are literal, as we see Barlow’s coffin being transported on his orders within the opening scene — a missed-opportunity mood-setter by which the 2 supply males are by no means heard from once more, nor are they dispatched in a remotely memorable method. They merely do the job after which disappear, since King needed the story’s first couple victims to be youngsters: the Glick brothers, Ralphie (Cade Woodward) and Danny (Nicholas Crovetti).

That tilts “’Salem’s Lot” in a well-recognized “It”-like course, as younger boys are instantly endangered by a far-more-powerful supernatural phenomenon — which is smart, since Dauberman penned the two-part “It” reboot (plus 5 movies within the Conjuring Universe). Besides, these vampires merely aren’t very intimidating, regardless of just a few nifty upgrades, together with eyes that glow gold in the dead of night and a materializing-out-of-nowhere trick the place the digital camera pans forwards and backwards to seek out them looming on the roofs of native buildings.

After Danny is taken, new-to-town teen Mark Petrie (Jordan Preston Carter) swears to go after the vampires — a promise that’s each reckless and relatable. Although significantly shorter than the 2 TV variations, Dauberman’s movie begins off clunky, as if just a few scenes had been lower (for instance, Mark’s mother and father don’t seem till Barlow kills them late within the movie) seeking the suitable move. Straker comes off conspicuously creepy from the beginning, pulling up beside Mark and the Glick boys with a flamboyant, “Greetings, younger masters.”

So usually in horror films, the characters don’t know what they’re coping with, responding to zombies or vampires as if such creatures weren’t pop-culture mainstays. Right here, Mark and the varsity principal (Invoice Camp) acknowledge the menace comparatively shortly, fashioning wood stakes from no matter’s useful — a chair leg, a baseball bat — and impaling their attackers on them. They enlist Ben and his librarian girlfriend (Makenzie Leigh), in addition to the skeptical native physician (Alfre Woodard, who’s all, ”That is some shit!”) and alcoholic priest (John Benjamin Hickey). Nonetheless, it’s this six towards practically the whole city, as vampirism spreads sooner than probably the most insidious coronavirus.

Broadly talking, Dauberman has made a by-the-book adaptation, with just a few diversity-minded enhancements (let’s simply say, Black lives matter on this model) and a plot twist or three to maintain audiences on their toes. For instance, Straker exits the story early, clearing the best way for a unique character to develop into Barlow’s thrall. After which there’s the climax, again on the drive-in, the place the setting solar behaves in peculiar methods. It’s gratifying to suppose that a large outside display, which saved films in the course of the pandemic, might doubtlessly save mankind. Given the junky look of this movie’s visible results, nevertheless, it’s simply as properly that “’Salem’s Lot” is destined for streaming, the place it joins the 2 miniseries within the small-screen graveyard.

“’Salem’s Lot” will stream completely on Max, starting Oct. 3, 2024.