User Reviews (1,455)

  • The Shining is a masterclass in film-making and a staple of popular culture. I, personally, cannot stand horror films. I don't like to feel scared, and I don't like to have my emotions manipulated by scary monsters, scary music, scary lighting, etc. I feel like horror is an easy genre - it's easy to scare some people, and people go to movies hoping to feel something, so why not fear?

    But, I had heard a lot about The Shining. I decided I would look up the plot and watch some clips so I wouldn't be caught off-guard by anything, and I could just appreciate the characters, directing, cinematography, etc.

    Despite knowing everything that would happen, the film was unbelievably engaging. I couldn't take my eyes off the screen. Jack Nicholson, of course, steals the show with one of the most iconic performances ever, and the other actors were decent, but the real star was Kubrick himself. Every shot, every set, the sound design, and everything has his fingerprints all over it, and it is such a delight to watch. When Jack advances up the stairs demanding the bat from Shelley Duval, I grinned from ear to ear because everything in that moment was just perfect in film.

    The movie, like all others, has problems. In my opinion, the Grady girls and the bloody elevator do not hold up. I knew they were coming from the summaries I had read, so I knew what to expect, so the only reason I could see them as being scary or unsettling is if the viewer was caught off-guard. If you're pretty feminist, you're not going to like Shelley Duval's character, as she is a pretty weak character.

    All in all, this film is fantastically-made, a cinematic and acting delight, and a gripping horror film that is considered a classic for a reason.
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  • When this film first came out in 1980, I remember going to see it on opening night. The sheer terror that I experienced in viewing "The Shining" was enough to make me go to bed with the lights turned ON every night for an entire summer. This movie just scared the life out of me, which is what still happens every time I rent the video for a re-watch. I have seen The Shining at least six or seven times, and I still believe it to be simultaneously and paradoxically one of the most frightening and yet funniest films I've ever seen. Frightening because of the extraordinarily effective use of long shots to create feelings of isolation, convex lens shots to enhance surrealism, and meticulously scored music to bring tension levels to virtually unbearable levels. And "funny" because of Jack Nicholson's outrageous and in many cases ad-libbed onscreen antics. It never ceases to amaze me how The Shining is actually two films in one, both a comedy AND a horror flick. Ghostly apparitions of a strikingly menacing nature haunt much of the first half of the film, which gradually evolve into ever more serious physical threats as time progresses. Be that as it may, there is surprisingly little violence given the apparent intensity, but that is little comfort for the feint of heart as much of the terror is more implied than manifest. The Shining is a truly frightening movie that works symbolically on many levels, but is basically about human shortcomings and the way they can be exploited by unconscious forces combined with weakness of will. This film scares the most just by using suggestion to turn your own imagination against you. The Shining is a brilliant cinematic masterpiece, the likes of which have never been seen before or since. Highly, highly recommended. - Paul
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  • I can't praise this film long enough!

    The Shining is, without doubt, one of Stanley Kubrick's undisputed masterpieces and a true classic in horror cinema. It is a film that, over the course of the years, has managed to scare the living hell out of its audiences (and still does). The film is an adaptation of Stepehen King's original novel, written in the late '70s, and although the film is not very loyal to the book, it still stands as a thing of its own.

    Right from the beginning, as we contemplate the car going to the hotel from those stunning aerial shots, deeply inside us we know that something in the film, somehow, sometime is going to go wrong. As we obtain that severe warning, an almost inaudible voice gently whispers to us 'sit tight', a sense of unexpectedness invades us all, and it is that very same feeling that makes our hair stand on end throughout out the entire movie.



    The plot is simple: Jack Torrance (Jack Nicholson) becomes the caretaker of the Overlook Hotel in up in the secluded mountains of Colorado. Jack, being a family man, takes his wife (Shelley Duvall) and son (Danny Lloyd) to the hotel to keep him company throughout the long, isolated nights. During their stay, strange things occur when Jack's son Danny sees gruesome images powered by a force called 'the shining' and Jack is heavily affected by this. Along with writer's block and the demons of the hotel haunting him, Jack has a complete mental breakdown and the situation takes a sinister turn for the worse.

    The film, unlike many horror-oriented films nowadays, doesn't only rely on stomach-churning and gory images (which it does contain, anyway) but on the incredibly scary music based on the works of Béla Bartók and on the excellent cinematography (the Steadicam is superbly used, giving us a sense of ever-following evil), as well. The terrifying mood and atmosphere of the film is carefully and masterfully woven by Kubrick, who clearly knows how to really make a horror movie.

    Jack Nicholson's powerful performance as the mad father and husband is as over the top as it is brilliant. Shelley Duvall, who plays the worrying wife who tries to help her son, is also a stand out; she shows a kind of trembling fear in many scenes and is able to display weakness and vulnerability in a very convincing way. Undoubtedly, The Shining is full of memorable moments (the elevator scene or the 'Heeeeeere's Johnny' one-liner for instance) and, simply put, it's flawlessly brilliant.

    Stanley Kubrick's direction is pure excellence, giving the whole film a cold and atmospheric look, thus creating an unbearable sense of paranoia and terror. There are moments of sheer brilliance and exquisite perfection in this film; the horrifying maze chase is a perfect example. Every single shot is masterfully created and there are some genuinely scary scenes which will make you sit on the edge of your seat.

    The Shining is, in my opinion, a special landmark in horror cinema which will always be regarded as one of the scariest movies in film history. Since I saw it last year, when I was 13, I have rarely been able to have a bath in my bathtub.Just in case, ya know. Overall, The Shining is incomparably the scariest film I've ever seen in my whole life (and I can tell you I've seen a great deal of horror films).

    It is an unforgettable, chilling, majestic and truly, profoundly scary film crafted by an eccentric genius who wants to show that the impossible can be done. The Shining is a sublime, hauntingly intriguing and endlessly watchable film that shows Kubrick at his best.
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  • Stephen King may have said the master director knew nothing about horror, but that simply is not true. That is a too biased opinion for anyone to go on given that he wrote the book, which Kubrick based his wonderful film ever so loosely on. And at any rate, faithful or not, KUBRICK's Shining-the BEST crafted genre film of the 80's- performs it's duty as a fright flick, and then some.

    There are appropriately no words strong enough to convey the haunting beauty of the visuals showcased throughout the movie, from the drive to the Overlook to the final chase in the hedgemaze the movie is a feast for the eyes as it is for the mind. And it IS a feast for the mind as The Shining is as psychological as horror gets, toying relentlessly, and expertly with your emotions and expectations(some could even say SADISTICALLY), throwing something in that's completely out of left field and never, ever letting you catch your breath between the now classic shocks as the movie speeds toward it's memorable conclusion in the last half hour.

    Kudos are in order for Kubrick, a director of the old school style, who builds an eerie atmosphere by exercising total control over the filmic environment, manipulating everything down to the tiniest detail to suit the needs of the picture, yet filming with a coldly detatched, objective eye, as though Kubrick were making a documentary about these events. This would account for the dialouge, which-thankfully-is not the typical phoney balloney Hollywood banter (Kubrick detractors/King purists usually bitch about this the most, having been weaned on the phony nature of 'Hollywood talk', which is usually nothing at all like real talk. Many of us speak 'on the nose', and do not try to convey subtext through use of carefully chosen words that articulate our state of being without being direct.) In this light, Shelley Duvall must be commended for her performance which is very naturalistic. It does not seem like acting at all. She is not concerned with glamour, nor does she clutter her performance with typical acting chops, but rather she is solely focussed on hitting the emotional highpoints of her character as 'Wendy' gradually comes to realize that her husband is a madman. And let's face it folks, how many of us would like a million bucks when placed in a situation like that? Who does NOT look like a blubbering idiot when they are hysterical? That's what I thought, so what did you expect? She was great. To say nothing of the rest of the cast.
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  • Chilling, majestic piece of cinematic fright, this film combines all the great elements of an intellectual thriller, with the grand vision of a director who has the instinctual capacity to pace a moody horror flick within the realm of his filmmaking genius that includes an eye for the original shot, an ice-cold soundtrack and an overall sense of dehumanization. This movie cuts through all the typical horror movies like a red-poker through a human eye, as it allows the viewer to not only feel the violence and psychosis of its protagonist, but appreciate the seed from which the derangement stems. One of the scariest things for people to face is the unknown and this film presents its plotting with just that thought in mind. The setting is perfect, in a desolate winter hideaway. The quietness of the moment is a character in itself, as the fermenting aggressor in Jack Torrance's mind wallows in this idle time, and breeds the devil's new playground. I always felt like the presence of evil was dormant in all of our minds, with only the circumstances of the moment, and the reasons given therein, needed to wake its violent ass and pounce over its unsuspecting victims. This film is a perfect example of this very thought.

    And it is within this film's subtle touches of the canvas, the clackity-clacks of the young boy's big wheel riding along the empty hallways of the hotel, the labyrinthian garden representing the mind's fine line between sane and insane, Kubrick's purposely transfixed editing inconsistencies, continuity errors and set mis-arrangements, that we discover a world guided by the righteous and tangible, but coaxed away by the powerful and unknown. I have never read the book upon which the film is based, but without that as a comparison point, I am proud to say that this is one of the most terrifying films that I have ever seen. I thought that the runtime of the film could've been cut by a little bit, but then again, I am not one of the most acclaimed directors in the history of film, so maybe I should keep my two-cent criticisms over a superb film, to myself. All in all, this movie captures your attention with its grand form and vision, ropes you in with some terror and eccentric direction, and ties you down and stabs you in the heart with its cold-eyed view of the man's mind gone overboard, creepy atmosphere and the loss of humanity.

    Rating: 9/10
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  • Even though The Shining is over a quarter of a century old, I challenge anyone to not get freaked out by Jack Nicholson's descent into madness. This is a rare example of something so unique that no one has been able to rip it off; instead it has been referenced time and again in pop culture. The twins, the elevator of blood, RedRum, the crazy nonsense "writing"... this should be seen, if for nothing else, to understand all the allusions to it in daily life. The film is simultaneously scary, suspenseful, beautiful, and psychologically intriguing. It has the classic mystery of Hitchcock and the terror of a modern thriller. And it has what horror movies usually lack: a great script.
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  • Warning: Spoilers
    It's well know that Stephen King doesn't like Stanley Kubrick's version of The Shining (so much so that he scripted an abysmal TV movie version). According to him, Kubrick didn't understand the horror genre. Well, I think Kubrick did. I think he understood it only too well. He knew that it was a genre full of conventions, cheap tricks and tired clichés. Therefore Kubrick decided to throw all that nonsense out of the window and make a film based on atmosphere rather than predictable thrills. You don't get people here jumping out of the dark time after time. You don't get worthless shocks. Kubrick's version of The Shining is an insidious film. It gets under your skin. In other words, it isn't for Pavlovian dogs that have spent a lifetime being conditioned by cretinous nonsense.

    What runs deepest through The Shining is a frustration with family. Right from the beginning it's obvious that Jack isn't happy with his lot – as he's being shown around the hotel he can't help but take a sneaky look at the backsides of a couple of women. Well, can you blame him? The poor man is married to a bug-eyed, bucktoothed Olive Oil look-a-like.

    Then there's Jack's quiet frustration with his son Danny. As he's driving to the hotel, he's bothered by requests for food. And then his son makes out that he's knowledgeable because he saw a programme on TV. Already he's slightly irked - he's got to spend months alone with these people; one who resembles Popeye's missus and one who talks to his finger.

    So really the hotel brings out nothing that isn't already there. It merely brings everything to the surface – Jack's resentment as regards his wife, his frustration as regards his lack of writing talent and his annoyance at having a troubled son. It's kind of like he's testing his family. Are they strong enough as a unit to survive being cooped up together?

    One of the underlying themes in the film seems to be television. What happens in The Shining is what happens when someone stops watching the idiot box. With it, a person can find solace in mindless programming and retreat from the strictures of family life. Without it they're faced with all their problems and all the failings of their loved ones. Even the strongest family can be brought to its knees when there's no escape from each other's company. Therefore it's quite telling, when Jack loses the plot completely, that he spouts lines from TV: "Honey, I'm home" and "Here's Johnny." Just watch some television, Jack.

    But it's also the pain of writing that contributes to Jack's insanity. There's nothing quite as harrowing as an empty page. Plus there's nothing more annoying than being interrupted mid-flow. One of the best scenes in the film is when Jack tells his wife to get lost when she interrupts him. It's extremely violent in how cold Jack is towards Wendy. And because it's grounded in a reality, it's all the more effective.

    Also rather unsettling is the scene where Jack talks to his son. He makes Danny sit on his lap and he proceeds to tell him how much he loves him and how he'd never hurt him. It works so well because it's so cold and because there's such an obvious lack of affection. The words are just empty platitudes. They mean absolutely nothing.

    Jack's true feelings are only revealed when he gets to talk to Lloyd. It's in this scene that you realise the marriage isn't all it's cracked up to be – Wendy has never forgiven him for accidentally hurting his son. And it's also in this scene that you realise (as if you hadn't noticed earlier) that Jack is absolutely crackers. He's talking to ghosts. But they could also be figments of his imagination, for there are mirrors behind most of the ghosts he talks to. Effectively he's talking to himself. And I love this matter of fact way of dealing with the supernatural. There are no fancy tricks. Everything just seems unnaturally natural.

    In fact, everything to do with the ghosts is superbly handled. The twins are spooky, Lloyd is amiable and Grady is out of his mind. And it's Grady who's probably the most chilling presence in the film. He starts off as a bumbling waiter but then quickly becomes a stone cold killer. Just the way he says 'corrected' conveys more terror than a million slasher films. And Philip Stone's performance is a million times more subtle than Nicholson's. I mean, as much as I like Jack in the film, he does chew the scenery. But Kubrick likes his over the top performances, so that's the way he wanted it.

    And undoubtedly it's Kubrick's movie. He's the real star. And I love everything he brings to the film. I love his command of lighting – just look at The Gold Room scenes. I love his use of music. I love the way that he turns the Room 237 scene, one that could have been a standard 'jump' scene, into a comment on Jack's marriage – his willingness to be unfaithful. I love the way that he leaves lots of unanswered questions. I love the shots of the blood coming out of the lift. I love the helicopter shots at the start. I love the way that pages and pages of typed words are the most frightening visual in the film. I love the maze. I love the fact that you see a ghost getting a blow-job from a ghost in a bear suit… Man, I love absolutely everything about this film. It's horror for people who know that true horror isn't being stalked by a man in a mask, but being trapped alone with your family.
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  • Kristine23 November 2003
    Warning: Spoilers
    The Shining, you know what's weird about this movie? This is the movie that everyone, for people who claim to not like horror films, will always say that The Shining is a terrific film. This is Stanley Kubrick's classic vision of Stephen King's horror tale of madness and blood. This is just an incredible film and wither you have seen it or not, you have heard of it, know a few lines from it, and know some of the classic images. Who could forget Jack's "Here's Johnny!"? Who could forget "All Work and No Play Make Jack a Dull Boy"? Who could forget that chilling ending? This is the film that is unforgettable and honestly in my opinion is Kubrick's best work. I know there is a lot of argument in that department, a lot of people say it's 2001: A Space Odyssey or Clockwork Orange or even Dr. Strangelove, but if those film pioneered film making, then The Shining perfected it. This is the tale of isolation, madness, terrifying images, and the ultimate ghost story that will crawl underneath your skin.

    Jack Torrance, Jack's son Danny, and Jack's wife, Wendy arrive at the Overlook Hotel on closing day. The elderly African-American chef, Dick Hallorann, surprises Danny by speaking to him telepathically and offering him some ice cream. He explains to Danny that he and his grandmother shared the gift; they called the communication "shining." Danny asks if there is anything to be afraid of in the hotel, particularly Room 237. Dick tells Danny that the hotel has a certain "shine" to it and many memories, not all of them good, and advises him to stay out of room 237 under all circumstances. Danny's curiosity about Room 237 finally gets the better of him when he sees the room has been opened. Danny shows up injured and visibly traumatized after Jack tells Wendy that he loves his family. Seeing this, Wendy thinks Jack has been abusing Danny. Jack wanders into the hotel's Gold Room where he meets a ghostly bartender named Lloyd. Danny starts calling out the word "redrum" frantically, and scribbling it on walls. He goes into a trance, and withdraws; he now says that he is Tony, his own "imaginary friend." Jack sabotages the hotel radio, cutting off communication from the outside world, but Hallorann has received Danny's telepathic cry for help and is on his way. Wendy discovers that Jack has been typing endless pages of manuscript repeating "All work and no play makes Jack a dull boy" formatted in various ways. Horrified, Jack threatens her and she knocks him unconscious with a baseball bat, locking him in a storage locker in the kitchen. Jack converses with Grady through the door of the locker, which then unlocks releasing him. Danny has written "REDRUM" in lipstick on the door of Wendy's bedroom. When she looks in the mirror, she sees that it is "Murder" spelled backwards. Jack picks up an axe and begins to chop through the door leading to his family's living quarters. "Here's Johnny!", and Jack's legendary image is born.

    The Shining is one of those films that you seriously have to make time to see, this is an incredible film and still gives me nightmares. Jack Nicholson's performance is timeless and unforgettable. But one I also feel is extremely overlooked is Shelley Duvall, her scene of finding Jack's rant All Work… is incredible, that's a look of horror and you can see that fear in her face after realizing her husband is mad. Also another incredible scene is when Jack sees a ghost woman in the bathtub, it's honestly one of the most terrifying scenes in horror cinema. The reason this film is so well known is because it's a film of perfection, it's been on The Simpsons, it's been shown in other films and it's a film that will forever stay with you when you see it, trust me.

    10/10
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  • When Jack Torrance (Nicholson) is offered a job as winter caretaker for the Overlook Hotel he accepts it as an opportunity to work on his novel in an isolated environment. He is told stories of the last caretaker going mad and butchering his family but isn't deterred. He arrives at the Overlook Hotel with his wife (Duvall) and child Danny (Lloyd) and is shown around the hotel by the cook (Scatman Crothers) who has the gift of perception. The cook warns Danny that the hotel can be of particular danger for those with the gift. It's only a matter of time before Jack begins to act increasingly erratic.

    This is one of Jack Nicholson's finest roles, his increasingly unhinged character is amusing and terrifying in almost equal measures. Duvall plays the role of the terrorised wife quite well - she does look like she's genuinely filled with fear - but doesn't have much else to do. Lloyd is excellent as the boy, although he doesn't have too much emotion to express. However no doubt that this is Jack's show.

    The story doesn't stick to King's novel and is better for it; this is Kubrick's Shining. The film has plenty of genuinely scary moments but manages to keep a creepy atmosphere all through - especially as the ghosts come out and Jack begins to move between his reality and the reality that is gradually claiming him.

    Kubrick is excellent here, his cold direction adds to the overall creep factor of the film. It's one of the best examples of his masterful touch.

    Overall this is an excellent horror movie - because the focus is on horror and fear rather than gore alone (as with modern horrors). Jack is excellent in one of his best roles ever and the whole package is delivered in a cold creepy manner by a sadly lost director.
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  • What can I say about the scariest movie I have ever seen that has not already been said by others more articulate than yours truly? Do not view this film expecting to see a screen version of the Stephen King novel. Rather, this is a Stanley Kubrick film, and to fully appreciate it one should judge it within the context of Kubrick's entire body of work as a serious filmmaker. Thematically, THE SHINING relates most closely to 2001: A SPACE ODYSSEY, though flourishes of PATHS OF GLORY, A CLOCKWORK ORANGE and BARRY LYNDON do manage to figure prominently in the film's overall technique.

    In a nutshell (no pun intended), Jack Nicholson and Shelly Duvall co-star with Oregon's Timberline Lodge - enlisted to portray the exterior of the Overlook Hotel - in a story that appears on the surface to be about ghosts and insanity, but deals with issues of child abuse, immortality and duality.

    What the film might lack initially in terms of coherence is more than made up for in technique. Garrett Brown (the male voice in those old Molson Golden commercials), inventor of the Steadicam, chases young Danny Lloyd through hotel corridors and an amazing snow maze, providing magic-carpet-ride fluidity to scenes that ten years earlier would have been impossible to accomplish. If the film starts off too slow, remember who the director is. This man likes to take his time, and the results are well worth it: incredible aerial shots of the Overlook Hotel; horrific Diane Arbus-inspired twins staring directly at us; portentous room 237 and its treasure trove of terrible secrets; elevators that gush rivers of blood in slow-motion; Jack Torrance's immortality found via the hotel (akin to David Bowman's journey through the Space Gate); and some of the best use of pre-existing music ever assembled for a motion picture.

    It would take a book to examine and defend the film's strong points and drawbacks. If you've never seen it, you owe it to yourself to watch it alone with the lights off, with no interruptions, and make sure that it's raining. This is a cinematic experience that changed my life at the age of 14. Makes a great double feature with Robert Wise's 1963 thriller THE HAUNTING.
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  • Warning: Spoilers
    Okay, okay, maybe not THE greatest. I mean, The Exorcist and Psycho and a few others are hard to pass up, but The Shining is way up there. It is, however, by far the best Stephen King story that has been made into a movie. It's better than The Stand, better than Pet Sematary (if not quite as scary), better than Cujo, better than The Green Mile, better the Dolores Claiborne, better than Stand By Me (just barely, though), and yes, it's better than The Shawshank Redemption (shut up, it's better), I don't care WHAT the IMDb Top 250 says.

    I read that, a couple of decades ago, Stanley Kubrick was sorting through novels at his home trying to find one that might make a good movie, and from the other room, his wife would hear a pounding noise every half hour or so as he threw books against the wall in frustration. Finally, she didn't hear any noise for almost two hours, and when she went to check and see if he had died in his chair or something (I tell this with all due respect, of course), she found him concentrating on a book that he had in his hand, and the book was The Shining. And thank God, too, because he went on to convert that book into one of the best horror films ever.

    Stephen King can be thanked for the complexity of the story, about a man who takes his wife and son up to a remote hotel to oversee it during the extremely isolated winter as he works on his writing. Jack Nicholson can be thanked for his dead-on performance as Jack Torrance (how many movies has Jack been in where he plays a character named Jack?), as well as his flawless delivery of several now-famous lines (`Heeeeeere's Johnny!!'). Shelley Duvall can be thanked for giving a performance that allows the audience to relate to Jack's desires to kill her. Stanley Kubrick can be thanked for giving this excellent story his very recognizable touch, and whoever the casting director was can be thanked for scrounging up the creepiest twins on the planet to play the part of the murdered girls.

    One of the most significant aspects of this movie, necessary for the story as a whole to have its most significant effect, is the isolation, and it's presents flawlessly. The film starts off with a lengthy scene following Jack as he drives up to the old hotel for his interview for the job of the caretaker for the winter. This is soon followed by the same thing following Jack and his family as they drive up the windy mountain road to the hotel. This time the scene is intermixed with shots of Jack, Wendy, and Danny talking in the car, in which Kubrick managed to sneak in a quick suggestion about the evils of TV, as Wendy voices her concern about talking about cannibalism in front of Danny, who says that it's okay because he's already seen it on TV (`See? It's okay, he saw it on the television.').

    The hotel itself is the perfect setting for a story like this to take place, and it's bloody past is made much more frightening by the huge, echoing rooms and the long hallways. These rooms with their echoes constantly emphasize the emptiness of the hotel, but it is the hallways that really created most of the scariness of this movie, and Kubrick's traditional tracking shots give the hallways a creepy three-dimensional feel. Early in the film, there is a famous tracking shot that follows Danny in a large circle as he rides around the halls on his Big Wheel (is that what those are called?), and his relative speed (as well as the clunking made by the wheels as he goes back and forth from the hardwood floors to the throw rugs) gives the feeling of not knowing what is around the corner. And being a Stephen King story, you EXPECT something to jump out at you. I think that the best scene in the halls (as well as one of the scariest in the film) is when Danny is playing on the floor, and a ball rolls slowly up to him. He looks up and sees the long empty hallway, and because the ball is something of a child's toy, you expect that it must have been those horrendously creepy twins that rolled it to him. Anyway, you get the point. The Shining is a damn scary movie.

    Besides having the rare quality of being a horror film that doesn't suck, The Shining has a very in depth story that really keeps you guessing and leaves you with a feeling that there was something that you missed. HAD Jack always been there, like Mr. Grady told him in the men's room? Was he really at that ball in 1921, or is that just someone who looks exactly like him? If he has always been the caretaker, as Mr. Grady also said, does that mean that it was HIM that went crazy and killed his wife and twin daughters, and not Mr. Grady, after all? It's one thing for a film to leave loose ends that should have been tied, that's just mediocre filmmaking. For example, The Amityville Horror, which obviously copied much of The Shining as far as its subject matter, did this. But it is entirely different when a film is presented in a way that really makes you think (as mostly all of Kubrick's movies are). One more thing that we can all thank Stanley Kubrick for, and we SHOULD thank him for, is for not throwing this book against the wall. That one toss would have been cinematic tragedy.
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  • Sometimes all good horror needs is a good idea. But sometimes, rarely indeed, a horror masterpiece will reach us by the hand of a Kubrick, with the adept, elusive touch of a great artist to guide the vision, and we know what separates it from all else.

    Okay, the story has enough promise that even a hired gun would have to try to fail. Heck, even Stephen King himself didn't fare so bad. It's how Kubrick perceives King's universe however, how he fills the frame with it, that renders THE SHINING a feast for the senses.

    Horror that will reach us through the mind and body alike, an assault as it were, tending eventually its pitch to a crescendo, yet curiously not without a delicate lull.

    Kubrick's cinema is, as usually, a sight to behold. We get the adventurous camera that prowls through the lavish corridors of the Overlook Hotel like it is some kind of mystic labyrinth rife for exploration, linear tracking shots exposing impeccably decorated interiors in symmetric grandeur. The geometrical approach in how Kubrick perceives space reminds me very much of Japanese directors of some 10 years before. In that what is depicted in the frame, the elements of narrative, is borderline inconsequential to how they all balance and harmonize together.

    Certain images stand out in this. The first shot of Jack's typewriter, ominously accompanied by the off-screen thumps of a ball, drums of doom that seem to emanate from the very walls or the typewriter itself, an instrument of doom in itself as is later shown. A red river flowing through the hotel's elevators in a poetry of slow motions. Jack hitting the door with the axe, the camera moving along with him, tracking the action as it happens, as though it's the camera piercing through the door and not the axe. The ultra fast zoom in the kid's face violently thrusting us inside his head before we see the two dead girls from his POV. And of course, the epochal bathroom scene.

    Much has been said of Jack Nicholson's obtrusive overacting. His mad is not entirely successful, because, well, he's Jack Nicholson. The guy looks half-mad anyway. Playing mad turns him into an exaggerated caricature of himself. Shelley Duvall on the other hand is one of the most inspired casting choices Kubrick ever made. Coming from a streak of fantastic performances for Robert Altman in the seventies (3 WOMEN, THIEVES LIKE US, NASHVILLE), she brings to her character the right amounts of swanlike fragility and emotional distress. A delicate, detached thing thrown in with the mad.
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  • I was never a big fan of horror movies. They usually try cheap tricks to scare their audiences like loud noises and creepy children. They usually lack originality and contain overacting galore. The only horror movie i like was Stir of Echoes with Kevin Bacon. It was well-acted, and had a great story. But it has been joined and maybe even surpassed by Stanley Kubrick's The Shining, quite possibly the scariest movie ever.

    The movie follows a writer (Jack Nicholson) and his family who agree to watch over a hotel while it is closed for the winter. There were rumors of the place being haunted and the last resident went crazy and murdered his family. But Jack is convinced it will be OK and he can use the quiet to overcome his writer's block. After months of solitude and silence however, Jack becomes a grumpy and later violent. Is it cabin fever or is there something in the hotel that is driving him mad?

    One of the creepiest parts about the movie is the feeling of isolation that Kubrick makes. The hotel is very silent, and the rooms are huge, yet always empty. It is also eerily calm when Jack's son is riding his bike through the barren hallways. Jack Nicholson's performance is also one of his very best, scaring the hell out of me and making me sure to get out once in awhile. My favorite scene is when he is talking to a ghost from inside a walk-in refrigerator.

    The Shining is tops for horror movies in my opinion, beating the snot out of crap like the Ring and The Blair Witch Project. It may be a oldie, but is definitely a goodie. 8/10
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  • Warning: Spoilers
    I shall never, ever be able to understand the phenomenon known as Stanley Kubrick. When he was on, as with DR STRANGELOVE, he was brilliant. But when he was bad, he was awful.

    I saw THE SHINING in its first release in a packed movie house in New York City. I had read and loved Stephen King's novel; I am widely read in the horror genre and do not scare easily, but that book gave me the creeps for weeks.

    Well for all the people who have been raving what a masterpiece this film is, I can only tell you this. The crowd in the theatre started giggling the minute Jack Nicholson appeared on film, and by the time he chased Shelley Duvall up the stairs, the whole crowd was literally in stitches. And I was laughing right along with them. Maybe New York audiences are just jaded; I don't know.

    Not that this movie does not have some scary moments. Shelley Duvall is rather good when she is away from Nicholson and it starts to dawn on her that something evil is taking over her family and her life. Unfortunately, Miss Duvall plays Wendy Torrance, a strong, intelligent, and resourceful woman in the novel, as a pathetic, whiny ninny most of the time, and by the time Nicholson had her trapped in the bathroom, I am sure plenty of us were screaming for her head. It must be said that this is not the fault of Miss Duvall, a talented and intelligent actress who according to reports fought bitterly with Kubrick over his interpretation of Wendy.

    The kid talking to his finger is another idiotic and unintentionally hilarious bit of business that was not in the original novel. Why Kubrick thought this was a good idea is beyond me.

    But let's get down to the real problem: Jack Nicholson. In the right role, he can be very good, though he has never been among my top ten. Jack Torrance is totally the wrong role for him; for one thing, he does not look ordinary enough. But the worst thing is that Stephen King's story was about a man being SLOWLY AND INEXORABLY driven out of his mind. Nicholson goes nuts so early in the film that there is literally nowhere for him to take the character. And Kubrick was either in awe of Nicholson, who was still riding the post-Oscar high from CUCKOO'S NEST, or he just didn't care, or he thought it was scary when it was actually funny. I don't know.

    As if all this were not bad enough, the whole mess drags on for two hours and twenty-two minutes; this movie practically cries out for a pair of scissors.

    Some people will feel that I have spat on an icon, I suppose, and they have that right. But Stephen King himself was not happy with this film, and when he finally got the opportunity to re-do it as a television miniseries in 1997, the results were much better. For the one thing that is missing in Kubrick's version is a heart.

    Anne Rivers Siddons, in discussing her excellent horror novel THE HOUSE NEXT DOOR, writes that the thing about horror is that it smashes people and relationships. Thus the best horror stories are at bottom also very sad (Brian De Palma's CARRIE gets this; Kubrick's film does not). And whatever your feelings about the miniseries format may be, the Torrance family created in 1997 were people you could care about. Director Mick Garris understands King better than Kubrick did, and Rebecca De Mornay, in particular, redeems the Wendy character in a spectacular tour-de-force towards the end. In 1980 the Torrances were figures of fun. Rather like the barbaric Victorian custom of laughing at the lunatics in Bedlam.

    Awful, awful, awful.
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  • Warning: Spoilers
    How this film gained such high praise and notoriety completely escapes me. I have seen hundreds of films, and this is easily the most incoherent, bland, and lifeless piece of work I can recall seeing (especailly by such a renowned filmmaker). And yes, I hated "2001: A Space Odyssey" as well. Long, drawn-out, boring, lifeless film packed full of irrelevant imagery and symbolism that amounts to a filmmaker who doesn't know how to tell an intelligent story with solid characters and emotions. That is the same exact problem here.

    First off, Shelley DuVall added nothing of value to the film. She was blah from beginning to end. No endearing qualities whatsoever. The whole film was a failed experiment thinking that random creepy, irrelevant images coupled with an incoherent story progression devoid of any character arcs would be successful. Kubrick had no sense of scene transitions. He shows no ability to allow one scene to flow into another, to give it fluidity or convey that he has an overall, consistent vision. The inconsistency over what aspect ratio he intended for it is further proof that he had no concrete vision, in my honest opinion. A solid, competent, talented director knows what they want, and are very confident in their visions. They have a very clear idea of how they want things viewed by every audience, everywhere. That's why directors and DPs hate it when their films are put into the pan-and-scan format. Kubrick also fails to have his DP shoot or light 98% of the scenes intriguingly. Watching this, it was like watching an old TV-movie - dull, uninspired, and lifeless. Yeah, the steadi-cams and dolly shots are all impressive, but sometimes, scenes seem to exist just to show off the cool camera moves they can do. Scenes which contribute absolutely nothing to the overall film, in any aspect. Being a filmmaker myself, I am of the belief that every scene should have a purpose to either the plot or characters of the film. Anything else is a waste. And beyond those steadi-cam and dolly shots, it's essentially bland for nearly the entire film. Almost zero interesting angles, and amateurish editing skills. Yawn inducing cinema.

    Good story progression would show Jack Torrance starting out as a well adjusted, happy family man that gradually descends into complete psychosis and homicidal mania. Instead, Kubrick shows him as already a man dissatisfied with his life, marriage, son, and career. Then, Kubrick just flashes a title card on the screen saying 'One Month Later,' and Jack is already deteriorated towards the verge of madness. That's shoddy storytelling, and a hack's idea of executing a character arc. No cause is given to why he becomes a homicidal maniac. There's also no correlation between all the surreal, nightmarish imagery. It's completely random, and doesn't evolve into revealing a story behind its origins. All this surrealism is just an excuse for it to be labeled 'horror' as it doesn't serve an underlying purpose as to why anything is happening amongst the characters. They don't confront, deal, or resolve the reasons or purpose behind it all. It's just there to make the film bizarre.

    Now, I don't mind methodically paced films as long as there's a purpose to it all. Any talented editor could make this a much more effective film by chopping a good 35 minutes or more out of it. Horror films require momentum to equal good pacing, and good pacing is necessary for solid tension. Still, even if there was tension and good pacing, fact is, really, there are no endearing characters in this film for me to build any sympathy for. I don't care what happens to them because they're one dimensional, emotionless, weak-willed people. How this family could even co-exist for five minutes is beyond me, let alone how they survived a more than three hour drive up to the hotel in the first place.

    This film is almost complete trash because it shows the filmmakers have no intelligence or coherence for the movie they were attempting to make. There are enormously better conceived and executed films from this time that proved far more effective. If you want isolation and paranoia, check out "John Carpenter's The Thing." If you want surrealism, go rent Don Coscarelli's original "Phantasm."
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  • Warning: Spoilers
    This is probably the most overrated movie of all times. I'm not a huge horror fan and I get scared very easily, but this movie actually made me laugh or sigh in despair about the lengthiness of the scenes and the predictability of the plot. I read the novel when I was a teen and it beat the crap out of me, I still am afraid of bath tubs in hotel rooms (embarrassing but true). The novel is an all time favourite of me and when I read all the great reviews about Kubick's Shining I was really looking forward to see the movie. What a mistake. For all lovers of the book, this is not a book adaptation, Kubick made his own story...unfortunately. Not only does Dick Hallorann get murdered by Jack - the fact he survives in the novel was one of the reasons I loved the book so much, it has after all somewhat of a happy ending -, but even worse, Kubick turned the whole story around and twisted it to an extend where the original plot is hard to recognize. Jack Torrance is very obviously a mad man right from the beginning who very openly hates his wife and kid, so as others have pointed out before, why didn't he leave his family or killed them before. The whole point of the novel, the normal guy and loving father with a hang to alcohol who gradually gets brainwashed by appearances in the hotel, gets totally lost. One might wonder why the movie even needs the whole hotel plot if Torrance is already mad as a hatter from the very beginning. Apart from this, I guess, had I not read the novel I would probably not understand one bit of what was going on with the characters. But unfortunately that's not all. Also the performances of Nicholson and Duvall were so lousy, it really crept me out. I've never seen Jack Nicholson perform so badly, he seemed like a parody of himself and don't get me started on Shelley Duvall. Periodically I thought I watched some amateur actor in a school play. Her adaptation of Wendy Torrance was so annoying I was staggered between the wish of seeing her chopped to pieces and the wish to see her survive and protect her little boy. The character Wendy in the novel is a strong, resourceful person, the Wendy in the movie is a whiny, weak, and extremely stupid person. The fact that she lays down and sleeps while she is trapped with her 'sick' son and a mad man in a hotel with no contact to the outside world is beneath me. The ending is probably the worst part of the entire movie, on the one hand it's ecstasy as the film draws to an end on the other hand it is as far from the original plot as can be which in this case is an extremely bad thing. The only actor that impressed me was Danny Lloyd, apart from the fact that Kubick partly tried to turn him into a parody of Regan MacNeil I think he did a fantastic job for the little six year old boy he was to that time. He seemed like the only natural actor on the scene.

    All in all this movie was by far the biggest disappointment I've seen for a long time. Save your time, better read the book.
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  • Warning: Spoilers
    "The Shining" is one of the most chilling and memorable horror movies I`ve seen, and I have seen a lot of horror flicks. It may not be faithful to the Stephen King book, but it still manages to have an intensely eerie tone to, even though any traces of a plot are practically absent. Jack Nicholson gives a great performance as always, and his descent into sheer madness is one of the most entertaining things about the movie, especially when he finally snaps, and turns against his own wife and son. Stanley Krubick has been called mysterious, and there is no doubt about it in this movie, almost every scene has some sort of obscurity to it, some mystery, and it forces to the viewer to feel at least a little bit frightened. Krubick is actually quite brilliant in the way he transforms almost every seemingly normal thing into something menacing, such as the snow-bound atmosphere, a set of twin girls, and even some shots of hallways and rooms gave me chills! In a critical way, "The Shining" is not a great film, there isn`t much substance, clarity or depth, but at the same time, you can`t help but be engrossed by it`s strikingly different style and effect. "The Shining" may not hold up to close fault-finding, but it`s certainly one of the most exceptional horror movies ever made.
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  • Warning: Spoilers
    Rarely have I seen a masterpiece of literature turned into a pile of horse manure...

    PROBLEMS:(SPOILERS)

    1.JACK NICHOLSON= Hugely miscast.The descent into madness is supposed to be gradual. This Jack looked like he was already going to murder his family.

    2.SCRIPT=Although the names and basic plot are in place(guy goes loopey in hotel) a lot of the scenes in the film I could not remember reading(eg two girls,blood in lift). Why did Kubrick drift from the book? Mostly, he didn't drift in A Clockwork Orange, so why here?Plus, the characters were one dimensional cardboard cut-outs, so how could I pity them?

    3.SHELLY DUVALL=Deserved to die, she was that annoying. The Wendy in the book is strong willed and not a pathetic loser. The reason they went to the Overlook was to save their marriage.

    4.ENDING=Jack did not freeze to death in the snow. In the book, it showed that Jack was still human enough to recognise his love for his son. The ''frozen'' scene here left me with a feeling of disgust that the pinnicale of the book had been replaced for a cheap shock.

    WATCH THE TV SERIES INSTEAD BUT READ THE BOOK FIRST.
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  • Warning: Spoilers
    All right, I've already written one review for this movie. But I've gotten lots of hate mail since then because I was told I did not explain enough. So here goes.

    Lots of spoilers are coming.

    Let's start with the actors. Jack Nicholson puts on a terrific performance in this movie. I will say that much. However, I hate to say that is the ONLY good thing about this movie. The woman (can't even remember her name) is one of the worst actors I have ever seen. She was just annoying and I was pleading with the movie for her death. The little boy, in his slobbering fits, made me just want to puke. No, the only good thing about this movie was Nicholson.

    The plot is not too bad, but is, to be honest, very lame. He is a caretaker and must take care (duh) of the hotel during the winter, it's closed season. He takes his wife and child to live up there.

    Nothing happens for the longest time. It is just such a boring movie. I was so sick of it by the time Nicholson started losing it. By the way, he loses it for no reason. The movie doesn't explain anything. I've never read the book, so I'm guessing you'd have to read the book to understand ANYTHING. The kid has a magical talent or something called the Shining, but this has nothing to do with the movie! I was at a total loss!

    There's a rather grotesque scene involving a naked woman that really made me want to shut this off. But something drew me in... I guess I just wanted to see how bad it could really get.

    Whoo, I wish I didn't do that.

    It just gets worse and worse after that. The plot falls short with tons of holes, the storyline is absolutely boring and crooked, and the climax is TOTALLY predictable. I knew that the black guy would go up to the hotel, get killed, and the woman and child would take the vehicle and escape.

    The music is so horribly screechy that I just wanted to clap my ears and cause deafness every five minutes. But I guess it fits the grotesque atmosphere of the movie.

    I was utterly disgusted by this movie. If this is supposedly the best of horror, I will never want to watch the horror genre again for fear of seeing its worst.
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  • It's certainly not a new complaint in relation to this film, but I must register it anyway: Jack Nicholson's acting here is all wrong for the material. Instead of a slow buildup from banality to insanity - which, given the movie's otherwise brilliant creepiness of tone and style - could have been truly horrific to watch, we get Jack Torrance as the nutjob Big Bad Wolf right from the very beginning. It's weird: it's as if Kubrick is indeed making the ultimate horror film, and Nicholson is sabotaging it every step of the way by enacting the ultimate horror film *parody*. Each on its own terms is immensely enjoyable, but they effectively cancel each other out. I've never seen the styles of director and star diverge so emphatically (A minor comparison would be the first "Fletch" movie, where Michael Ritchie's taut direction is appropriate to a gritty crime thriller, but where star Chevy Chase waltzes through the vehicle glibly throwing darts into every dramatic setup).

    However, there's no point in blaming Nicholson for the mess - this was clearly the way Kubrick wanted the part to be played. Perfectionist and control freak that he was, you don't believe for a minute that any inch of a Kubrick film isn't exactly how he wanted it; he certainly wouldn't allow a mere *actor* to steamroll his well-laid plans, not even one as forceful and magnetic as Jack Nicholson. Still, this movie - together with Batman, and even One Flew Over the Cuckoo's Nest - soured me on Jack for a long time; I found in him an actor far too willing to coast on his personality and to ham it up mercilessly, rather than bother to actually create a recognizable human being. Such a technique is fine, even commendable, for farceurs like Jim Carrey or Paul Reubens (either one of which would probably have been just as effective as Nicholson is here at being Jack Torrance) but we should expect more from our so-called Dramatic Actors. It wasn't until I saw some of his more restrained, nuanced work in such films as Ironweed, Wolf, The King of Marvin's Gardens, and even (amazingly) Easy Rider that I realized what a truly fine performer Nicholson can be when he is forced to, as it were, paint in between the lines (by the way, no complaints from me about his Oscar for As Good As It Gets - he's the only actor alive who could have made that part work the way it did). It's just too bad Kubrick didn't decide to use him this way; watching Jack Torrance go from a diffident, restrained man (watch the first part of Wolf to see how surprisingly well Nicholson can play such a character) to a rampaging lunatic would have been truly frightening (even with the extra bit of campiness Nicholson throws in - "Heeere's Johnny!", etc). It would have been as if the Overlook Hotel unleashed some primordial demon from the depths of an essentially decent man. The way it plays now, Jack's evil and insanity are loudly telegraphed from the very beginning (those dancing eyebrows of his NEVER stop!) - all that's left is to go through the motions.

    Of course, there are some pretty startling motions to go through in this movie; Kubrick's technical brilliance and his ability to create an engrossing mise en scene ensure that the film can never be seen as a total failure. In fact, when Nicholson is offscreen, the goosebump factor here is actually pretty high. The long tracking shots of Danny riding his Big Wheel through the winding hotel corridors are justly famous, as is the very design of the Overlook's wide open - yet paradoxically oppressive - map room (where Jack does his "writing"): these sequences effectively make the Overlook into a character itself. The isolation of it, its stillness and quiet, and most importantly its labyrinthian hugeness serve to overwhelm the tiny family and break down whatever bond they may have (which, again, would have been so much more effective if we felt this family was ever bonded in the first place). Kubrick ingeniously avoids shock devices, for the most part, and creates his spooky atmosphere through an almost inhuman stillness and quiet - which effectively creates an undertow of dread and expectation in the viewer. Quite simply, there are images and flash-cuts in this movie that will get under your skin and that you will never be able to shake - they will haunt your subconscience forever (deliciously). None more so than the truly classic moment where Wendy, the wife, finally discovers what it is Jack has been "writing" all this time: I can think of few movie moments in history that are so gut-bustingly hilarious and at one and the same time so bone-chillingly frightening and perverse. For this one moment alone, the film demands a viewing.

    It's simply too bad that Kubrick felt the need to invade the sanctity of his gothic cathedral like setting with the over the top rantings and ravings of the town lunatic. Not that that lunatic is not one devil of a fun guy to hiss and laugh at, it's just that he belongs in a different movie - the Evil Dead flicks, maybe, or one of Freddy Krueger's opuses. This conflict in styles between star and director ultimately make The Shining, for me at least, a frustrating experience: I keep wishing one of them would just get out of the other's way. The Shining could have been one of the hammiest and most enjoyable grand guignol horror experiences ever, or it could have been perhaps the most finely crafted and subtly shaded psychological thriller of all time. Alas, it cannot be both - and in trying to do so, it effectively undermines itself at every turn.
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  • Warning: Spoilers
    I never did understand the appeal of this terrible movie. Mind you, I could probably say the same about most movies directed by Stanley Kubrick. He is one of those directors who produces very long, boring movies that move at a snail's pace and are really difficult to withstand for more than a few minutes at a time. Movies such as 2001: A SPACE ODYESSY, DR. STRANGELOVE and SPARTACUS are examples of this kind of movie.

    As many other commenters have pointed out, Stephen King didn't like this movie because it was not faithful to the book. In fact he hates it so much that 15 years or so after, he made his own movie entitled STEPHEN KING'S THE SHINING. I've never seen the other version. But anything with his name attached is normally worth watching so I'll at least make the effort to track it down. It really couldn't be any worse than this tripe churned out by Stanley Kubrick.

    I've heard THE SHINING being referred to as "scary", "terrifying", "masterpiece", "classic", "thrilling", "horrifying" and so on. Yeah right! This movie does not even come close to producing anything equating to those words. The only horrifying thing about it is how it became so popular.

    Where can I start with the problems of this movie? Let's start with Jack Nicholson. I thought Jack Nicholson was great as The Joker in Tim Burton's BATMAN, but in this he doesn't even seem to be acting. He plays a character who is supposed to become insane as the story progresses. Yet it is very clear from Jack's first scenes that his character has already "got a few screws loose". And that stupid "Here's Johnny!" line. Was it supposed to be scary? Funny? What? Who knows? It was just downright stupid as far as I'm concerned. Yeah I know it was a reference to Johnny Carson, but what's Johnny Carson got to do with this movie? The answer: absolutely nothing at all.

    And Shelley Duvall. What can I say about her? She looks like Olive Oyl from the POPEYE cartoons. How ridiculous! Somehow the viewer is expected to believe that her character and Jack are married with a kid. Yeah right! There is no chemistry between the two actors at all.

    Finally, Scatman Crothers. I have great respect for this actor. He appeared in TWILIGHT ZONE: THE MOVIE and it was one of the very dull segments. Yet his superb performance gave it credibility and the story touched upon my emotions. In THE SHINING, however, Mr. Crothers is there just to be killed and I don't suppose he was bothered about his character being killed off considering how lame the movie is. It was probably just a paycheck used to pay off a few debts. And the ridiculous thing is that the character in question never dies in the book.

    I honestly can't believe that people think this movie is better than classics such as THE EXORCIST, THE OMEN and THE Texas CHAIN SAW MASSACRE. But yet this movie has a higher IMDb rating and is sitting very comfortably on the top 250 chart. Nonetheless, that won't alter the fact that the three mentioned movies put THE SHINING to shame any day.

    Stephen King's SALEM'S LOT was infinitely superior to this movie. Personally I think the director of that movie, Tobe Hooper, should have been asked to direct THE SHINING. We would have had an infinitely superior movie. Trust me. I've seen plenty of Mr. Hooper's movies and he very rarely fails to disappoint. THE FUNHOUSE was a low point of Mr. Hooper's career but even that movie looks like Oscar-worthy material compared to THE SHINING.

    Overall, I would not recommend this at all. I've not seen STEPHEN KING'S THE SHINING, so I can't really recommend it just yet. But, I would recommend checking out some proper horror movies such as SALEM'S LOT, PSYCHO, THE EXORCIST, THE OMEN, THE Texas CHAIN SAW MASSACRE just to name a few.
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  • Warning: Spoilers
    I am dismayed at the overwhelming positive response to this garbage of a movie. The only explanation I can come up with is the responses are affected by what I can the "Genius Effect" and time. The Genius Effect (which I'm sure someone else probably has coined - but if not, I'll take credit!) would dictate that if the filmmaker is a genius, then the film is a work of genius and must be excellent. Since I don't consider Kubrick a genius, I don't think all he had done was great. Some of it was OK, probably the best was FULL METAL JACKET, but I digress. I do think this point has some merit because reviews of Eyes Wide Shut were very good and, very recently, it was revealed that Kubrick himself thought it was bad (see Guardian Unlimited Film, http://film.guardian.co.uk/news/story/0,,1888077,00.html).

    The other effect, time, is more of what I remember people saying when the movie first came out. There were many comments that it shouldn't be considered a horror film but rather a comedy because audiences were laughing more than screaming (and not just at the funny moments, i.e. "Here's Johnny!"). It seems audiences are more kind as time goes by, or at least in this case anyway.

    The "acting" in this film is absolutely atrocious, especially that of Shelley Duvall, which one IMDb user stated "is very naturalistic. It does not seem like acting at all." That's because it isn't. It is flat and unemotional (even when she tries to be emotional). Jack Nicholson doesn't become crazy due to isolation, he's nuts from the beginning. His character's dealing with his wooden family doesn't beg the question, "Why does he want to kill his family," but, "Why didn't he do so long before this?" Not saying I condone injury to the dull and irritating, but being locked up with those two would put anyone's nerves on edge. I can't believe they survived the car ride to the hotel.

    Needless to say, I didn't find THE SHINING scary in any way, even when I saw it at age 11. By then, I had the wits scared out of me by a far worse movie IT'S ALIVE (gimme a break, I was 7). After that, I have yet to be scared by any other movie, and THE SHINING never even came close.

    In all honesty, I have tried to give THE SHINING a reasonable chance. I've seen it more than five times, thinking "I must be missing something." Each time it gets worse.
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  • This is the classic horror! Stanley Kubrick's Finest! The scariest of the "Kubrick Stares" has to be Jack Nicholson looking through the door in the classic horror scene. The camera, music, acting, and scares are top notch! I highly recommend this movie to: Horror fans, Kubrick fans, psychological thriller fans, and even Nicholson fans. You will love this movie to death! Four out of four stars. A definative classic! SEE IT!
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  • This entire movie could have been viewed with subtitles and everything on fast forward. Low on dialogue and storytelling, and sky-high on Kubrik-Hype, his God-awful long shots were as deadly as Jack Nicholson's axe... they killed the movie and any suspense it attempted to create.

    I literally watched the last part of this movie on fast forward. The Kubrik-esquire long shots are an absolute drag, and the producers should have worked more on the script to let people understand the story more.

    Try watching a few scenes on fast forward, and you'll get the joke. Absolutely unacceptable. The story is not served in any way by watching a well-acted freak with an axe limp across a half-mile hallway or an old black guy walk, 6-inch stride by 6-inch stride across the same bloody hallway for five minutes.

    All movie adaptations worthy to be mentioned should have enough material within the contents of the movie for people who have NOT read the book to understand ENOUGH so as to get the general story right. This adaptation does not do anything of the sort.

    Unacceptable script-writing and unacceptable direction. I forgave Kubrik on 2001: A Space Odyssey, but after watching The Shining, in hindsight, his clichéd long shots and his awful storytelling puts him in one of the directors whose work I consistently do not enjoy.
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  • Don't get me wrong, the originality of the story is great, mainly because it was done before all of those abandoned but "haunted" hotels, motels, houses, whatever kind of building scenario. But I thought the movie moved at a time dragging pace, the whole shot of Danny Torrence rolling around on his tricycle left me wondering..."What was the director thinking?" A lot of the things that happened in the movie made no sense to me really. The book I thought was much more clear and less abstract on the transformation of Jack Torrence. I also thought the betrayal of Jack Torrence's character was wrong. We essentially knew nothing about him or his family, other than Danny was having bad dreams, then it starts with the Torrence's taking over of the hotel for the winter and Jack has lost his mind.

    I loved how it was done in the book, you got a good feel for who Jack was and where he had come from and you felt good about him. When they go to the hotel the symptoms Jack experienced where eye widening. He was chewing on the aspirin, losing his temper and getting major headaches, all conclusive to when he was drinking, but he wasn't. I thought the movie missed a little on that. The movie by itself however seemed to want to breath a life of it's own rather than paying homage to the novel it came from. I guess when it came down to it, I really had no care for the wife and child. Danny walking around saying redrum was really one of the most annoying things I have ever had to watch. But because the film was so slow to progress that when the climax finally showed up it failed to make up for lost time and attention.

    All in all, an O.K. movie, but I really don't see what the hype was all about in the this other than the famous "Here's JOHNNY!" line. Watch it if you wish, obviously it has a 8.5 on IMDb for a reason...
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