Kubrick's unbalanced approach (over-emphasis on production values) results in soulless cardboard cutouts who can do little to generate audience empathy.
The Shining (1980)
Tomatometer
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Reviews Counted:47
Fresh:41
Rotten:6
Average Rating:7.9/10
Runtime: 3 hrs
Genre: Horror/Suspense
Synopsis: Opening with spectacular aerial shots of a beautiful, mountainous landscape, Stanley Kubrick's horror classic THE SHINING sucks the viewer into his frightening tale with quiet, relaxing... Opening with spectacular aerial shots of a beautiful, mountainous landscape, Stanley Kubrick's horror classic THE SHINING sucks the viewer into his frightening tale with quiet, relaxing visuals--but the ominous soundtrack warns that all is not right at the gorgeous Overlook Hotel. Based on Stephen King's best-selling novel, the film stars Jack Nicholson at his eyebrow-raising best in his portrayal of Jack Torrance, a Vermont schoolteacher working at the Overlook as a winter caretaker. The glorious early-20th century resort only operates in warm weather because the snowy roads deny access in the colder months, so Jack brings his wife, Wendy (Shelley Duvall), with him, as well as his young son, Danny (Danny Lloyd), who possesses some unique psychic powers. As the Torrances settle in for the long, lonely months ahead, strange, unexplainable things start occurring in the hotel--and in every scene Jack seems to be growing a little more evil and dangerous.... Cinematographer John Alcott (who also worked on BARRY LYNDON and A CLOCKWORK ORANGE) allows his Steadicam to float eerily through the deserted halls and corridors of the hotel, creating a creepy air of tension as Jack plummets into madness. Kubrick's obsessive eye for detail is prevalent throughout; the famous scene where Danny rides his toy buggy through the hotel is remarkable for Alcott's gliding camerawork and the desolate sound of the wheels alternately scraping across the hardwood and carpeted floors. Nicholson and Duvall are outstanding throughout, with both actors running the full gamut of human emotions as the film races towards a thrilling conclusion. Supplemented by an oddball cast of dead twin girls, suicidal ax-murdering ghosts, Scatman Crothers as the hotel cook, and many other weird and wonderful figures, Kubrick's film is a pulse-racing treat that is among the best in his inimitable body of work. [More]
Starring: Jack Nicholson, Shelley Duvall, Scatman Crothers, Danny Lloyd
Starring: Jack Nicholson, Shelley Duvall, Scatman Crothers, Danny Lloyd
Director: Stanley Kubrick
Director: Stanley Kubrick
Story: Stephen King
Screenwriter: Stanley Kubrick, Diane Johnson
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Reviews for The Shining
Kubrick's use of space and the eerie steadycam have never been put to better use.
The result may not quite match Kubrick's greatest films, but it is enthralling and hypnotic - a brilliant, ambitious attempt to shoot a horror film without the Gothic trappings.
If you're looking for an intense, atmospheric movie guaranteed to give you the creeps, this film should be on your list.
The Shining goes halfway toward bringing back Franz Kafka's understanding of real horror as the evil that lies within.
"Here's Johnny!" ... Kubrick's grandiose Jack-in-a-box shocker is a fright, but it's hardly up to his earlier brilliance.
The Shining (1980) is creative director Stanley Kubrick's intense, epic, gothic horror film masterpiece - a beautiful, stylish work that distanced itself
A camp classic that brings up some good psychological scares, yet is also abundant with laughs.
The movie is not about ghosts but about madness and the energies it sets loose in an isolated situation primed to magnify them.
If Stanley Kubrick's The Shining is not the best haunted house movie ever made, it is certainly among the most intricately constructed.
The Shining is an intense and not always ingratiating experience, a natural bookend to 2001...
It's the experience more so than the actual content of The Shining that radiates cold, anti-humanly indifferent terror.
Kubrick's mostly riveting attempt to rewrite the conventions of the horror genre
Kubrick is after a cool, sunlit vision of hell, born in the bosom of the nuclear family, but his imagery -- with its compulsive symmetry and brightness -- is too banal to sustain interest, while the incredibly slack narrative line forestalls suspense.
Kubrick’s showcase of abilities, both with the camera and his characters, are incomparably haunting.
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