Salem's Lot: Not enough bite

Salem's Lot (2024) • View trailer

3.5 stars (out of five). Rated R, for bloody violence 

Available via: MAX

By Derrick Bang

Film adaptations of Stephen King’s novels have run the gamut, from the excellent — Misery, Stand By Me, The Shawshank Redemption and Carrie — to the deplorable: Thinner, Cell, Lawnmower Man and many, many others.

 

With sundown rapidly approaching, the wary vampire hunters — from left, Susan
(Makenzie Leigh), Ben (Lewis Pullman), Dr. Cody (Alfre Woodard), Mark (Jordan
Preston Carter) and Father Callahan (John Benjamin Hickey) — contemplate how
best to invade the dread Marsden House.

Most often, the fault lies with inept directors and scripters. Sometimes, though, the fans who inhabit what King calls Constant Reader Land are upset because a given adaptation changed so much that it “ruined the book.” To those folks, King always cites what James M. Cain said to a student reporter who bemoaned how Hollywood had altered books such as Double Indemnity and The Postman Always Rings Twice.

“The movies didn’t change them a bit, son,” Cain replied, pointing to a shelf of books behind his desk. “They’re all right up there. Every word is the same as when I wrote them.”

 

Director/scripter Gary Dauberman’s respectful handling of King’s famed 1975 novel does pretty well, when it comes to fidelity. He includes almost all the central characters, hits most of the story’s key plot points, and deftly maintains the unnerving atmosphere King established so well, with the juxtaposition of quaintly bucolic, small-town Americana invaded by macabre, old-world Evil.

 

And when Dauberman does slide the story into different territory — notably during the third act — he does so cleverly; the climax is both ingenious, and suspensefully mounted with an assist from editor Luke Ciarrocchi.

 

That said, this film fails in another, equally important manner: overall pacing. 

 

After taking time, during a leisurely first act, to introduce the key players and set up the looming threat, a fleeting second act rushes far too quickly into the aforementioned finale. King’s luxurious attention to detail — the nuances of sidebar characters, and their back-stories — are completely absent.

 

This is particularly egregious with respect to school teacher Matt Burke and local priest Father Callahan (although that’s getting ahead of things a bit).

 

The result is a jarring case of whiplash, as if great chunks of this film had been left on the cutting-room floor. Dauberman has admitted that his first cut ran three hours, which I suspect would have been preferable; director Tobe Hooper’s 1979 two-part TV miniseries, running 183 minutes, was — and remains — vastly superior.

 

Truth: None to be found

Truth (2015) • View trailer 
Three stars. Rated R, for profanity
By Derrick Bang • Originally published in The Davis Enterprise, 10.30.15

This film is quite intriguing, in part because its title reflects great irony: Almost no “truth” emerges here.

Having finally put their investigation to bed, the 60 Minutes team — from left, Lucy Scott
(Elisabeth Moss), Mary Mapes (Cate Blanchett), Mike Smith (Topher Grace) and Lt. Col.
Roger Charles (Dennis Quaid) — watch their colleague Dan Rather deliver the story to
TV viewers. Sadly, that won't be the end of it...

Director/scripter James Vanderbilt’s politically charged drama is based on the late 2004 events that later came to be known as “Rathergate”: the CBS 60 Minutes news piece that cast doubt on the details of then-president George W. Bush’s National Guard service.

The questions that initially fueled the journalistic investigation — whether strings had been pulled to get Bush into the Texas Air National Guard, as opposed to service in Vietnam; and whether he had, in fact, honorably completed said National Guard service — quickly were submerged beneath a rising tide of questions regarding the legitimacy of the investigation’s sources and “smoking-gun documentation.”

This script is based on Truth and Duty: The Press, the President and the Privilege of Power, the 2005 book by Mary Mapes, who produced the CBS News piece, but Vanderbilt is an unlikely candidate for such an assignment. His previous résumé is limited to crime dramas and high-octane action epics such as The Amazing Spider-Man and White House Down, and his dialog here too frequently sounds like amateur efforts to imitate Aaron Sorkin or David Mamet.

The performances are robust, and Vanderbilt has done reasonably well with this directing debut; he knows how to guide his actors through their scenes. No question, as well, that this is an important story, and one with lessons to be learned. But the narrative is frequently clumsy, the timeline occasionally confusing, and we’re ultimately left with more questions than answers (which, although almost certainly intentional, is nonetheless irritating).

On top of which, Vanderbilt makes a few glaring rookie mistakes, starting with his opening scene, wherein Mapes (Cate Blanchett) begins an intense first meeting with ... somebody. We’re inclined to assume he’s a shrink; we eventually learn, much later, that he’s a lawyer. Either way, he’s a gimmick that allows Mapes to recount her story while it’s still happening, which is simply daft.

The narrative proper begins in the spring of 2004, just as CBS broadcasts Mapes’ breaking-news story of the Abu Ghraib torture and prisoner abuse. It’s a moment of triumph — and a piece that would go on to win CBS and Mapes a Peabody Award — but, in the demanding environment of a news studio, just another assignment completed, with many more to go.