An anthropologist returns to his inherited home in Salem's Lot with his estranged, troubled son, only to uncover a hidden vampire society masquerading as a quiet New England community.
Co-written and directed by Larry Cohen, this 1987 theatrical release is a notable departure from the excellent 1979 miniseries directed by Tobe Hooper. Deceptive poster aside, although released in cinemas, it often feels like a television movie and looks considerably older than its years-whether by design or accident.
The film is violent in places, featuring head bashings, stakes through the heart, and some effective practical effects, with plenty of blood and fangs on display. However, the unlikable Joe Weber (Michael Moriarty) proves almost as bratty as his son Jeremy (Ricky Addison Reed).
The real issue lies in the film's uneven tone, which shifts awkwardly between horror and broad humour/satire. Films such as John Carpenter's Vampires (1998), The Lost Boys (1987), and Fright Night (1985) handle that balance far more successfully.
The acting is a mixed bag. That said, veteran performers Andrew Duggan, Samuel Fuller, June Havoc, and Evelyn Keyes bring some much-needed weight to the production.
Moriarty, fresh from Pale Rider (1985), makes for a solid everyman lead and does his best to hold the film together. Interestingly, a very young Tara Reid appears as Amanda Fenton - a role that retrospectively echoes Kirsten Dunst's performance in Interview with the Vampire (1994). Jill Gatsby is also memorable as Sherry. Director Samuel Fuller nearly steals the show as the obsessive vampire hunter Van Meer.
Michael Minard's score is inconsistent, as is Daniel Pearl's cinematography; neither possesses much cinematic refinement. While the town itself looks lush, it fails to generate any real sense of dread. The sets and locations are strong, but the pacing and staging throughout are questionable. Cohen does, however, take clear aim at the American Dream, layering the film with satire, allegory, and moral ambiguity.
While Return to Salem's Lot remains an interesting watch, it ultimately doesn't hold a candle to the Hooper-directed 1979 version starring David Soul.
To get the best out of Cohen's rough, clunky outing, the film is best viewed as a standalone piece, separate from the 1979 adaptation.
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