Set at the turn of the century, this is the tale of Ellen Rimbauer who just received this mysterious mansion as a wedding gift from her new husband. Her husband is a Seattle oil tycoon who ... See full summary »
Norman Bates returns for this "prequel", once more having mommy trouble. This time around he is invited to share memories of mom with a radio talk show host, but the PYSCHO fears that he ... See full summary »
Anna Rydell returns home to her sister (and best friend) Alex after a stint in a mental hospital, though her recovery is jeopardized thanks to her cruel stepmother, aloof father, and the presence of a ghost in their home.
Ben Mears, a writer returns to the small Maine town of Jerusalem's Lot (also known as Salem's Lot), where he spent the first few years of his life, to write a book. Little does he or the townfolk realize that a couple of other new residents are coming...Straker, a antiques dealer, and his partner and master Barlow, a ancient and malevolent vampire bent on making Salem's Lot his new home. Written by
Whilst researching material for a new book, a writer (David Soul) returns to his home town and finds it infested by vampires operating from within a creepy old house overlooking the area.
Mikael Salomon's ill-advised remake of Tobe Hooper's classic TV miniseries tells much the same story, but fails in almost every respect. Peter Filardi's script takes fewer liberties with Stephen King's novel than the original, but Salomon demonstrates no great empathy with the material, and the results are turgid and uninvolving. There's very little urgency in the depiction of a creeping menace which threatens to overwhelm the eponymous town, only a sense of indifference as Salomon consistently fluffs many of the ingredients which distinguished the original: The crate-delivery to the Marsten house is resolved in a perfunctory manner; Marjorie Glick's return from the dead occurs too quickly and lacks even the most rudimentary elements of suspense; the climactic showdown between Good and Evil inside the Marsten house unfolds in routine fashion, etc.
On the plus side, Rob Lowe is an inspired choice for the role originally taken by David Soul (his love-hate relationship with the Marsten house is clearly established this time around), and there's a memorable scene in which an unpleasant school bus driver (Andy Anderson) gets his comeuppance at the hands of his former 'victims'. Elsewhere, Andre Braugher essays the role of a gay teacher whose sexuality fuels his first encounter with the living dead (rough-trade beauty Christopher Morris), a huge turnaround from the original version. But the movie is labored to the point of redundancy, and seems to last an eternity. With his white hair and beard, Donald Sutherland's villain comes off looking like a demonic Santa Claus, and Rutger Hauer (Anne Rice's original choice for the role of Lestat in a film adaptation of her novel 'Interview With the Vampire') is barely on-screen long enough to make an impression as the lead vampire, though his portrayal is thoroughly undistinguished. Production values are fine, and Ben Nott's photography makes a virtue of the bleak landscape and wintry locations (the movie was shot in Australia, doubling for New England), but the characters seem totally disconnected from one another, and the film isn't remotely frightening. It doesn't simply fail in comparison with the original miniseries, or even with the novel; it fails on its own terms, and has few redeeming virtues.
8 of 11 people found this review helpful.
Was this review helpful to you?