There is one horror writer whose work has been adapted for the screen more than any other: Stephen King. It’s no surprise considering both the quality and quantity of his work, which has seen over 60 films and 50 TV shows adapted from his books.

This latest goes all the way back to the beginning of his career, based as it is on his second novel ’Salem’s Lot, published in 1975.

Arriving in the quiet, sleepy town of Jerusalem’s Lot, Maine, is Ben Mears (Lewis Pullman). He’s a writer who is returning to his home town, after many years away, with very few fond memories of the place as it was where his parents died in a car crash.

He’s hoping that being back in his home town will inspire him creatively. It gets off to a good start meeting Susan (Makenzie Leigh), an estate agent whom he quickly becomes friends with.

But it’s not long after his arrival that a number of unexplained deaths occur, that many believe are linked to the new owner of the Marsten House up on the hill, overlooking town. But does Richard Straker (Pilou Asbӕk) really have anything to with it?

If you're of a certain age, you may have a fondness for the 1979 two-part TV miniseries adaptation starring David Soul and James Mason, which was truly frightening for the time, and the sound of fingers tapping on a window will long put the fear into anyone who saw it.

Director Gary Dauberman’s stylish adaptation has had a struggle being released, pulled from its original date back in September 2022, and languishing ever since. Its studio Warner Bros. clearly had little faith in it, which is a shame, as it’s a hugely enjoyable adaptation.

Dauberman has captured the essence of both the book and the mini-series, delivering a chilling horror that is guaranteed to make the most hardened horror fan jump.

He embraces one of not only the books main themes but King’s work generally, and that is of community, as it finds a small town and its people come under threat from an evil source.

Although there are no big names attached, the director has cast some heavyweight character actors, including the always watchable Alfre Woodard as the local doctor. It’s a good move ultimately, as it allows the story to be, if you pardon the pun, king.

He also understands the point of a horror film, and delivers on that front with some pleasing jump scares. There are also the odd moments of well placed humour, which always adds to the experience.

The one slight niggle perhaps is Asbӕk’s Straker, who lacks the chilling, cold class of Mason’s version, and offering a more child catcher aesthetic with a tinge of pantomime villain which is disappointing.

With so many horror films being released of late, many of which are of such poor quality, it’s good to see you can rely on King’s work, despite its age, to still deliver the horror goods.

If you’re a fan of both King and this particular story, revisiting Salem again here will prove to be the thing of nightmares once more.