द शाइनिंग

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.

One of those films that is a classic for a reason.

It's been on my list of movies to watch forever and a day and I finally got to it in 2023.

This is an experience, masterfully shot and some of the most intense and engaging performances I have ever seen.

Nicholson and Duvall have a complex chemistry that works at so many levels, which is essential to the make up of this story and anchors the first class direction.

This is cinematically spectacular, the sets and the the design of this film is isolating, terrifying and captivatingly beautiful all at the same time.

Worth all of the accolades and hype, even at 43 years old this film delivers in spades.

Stephen King was so horrified at what Stanley Kubrick did to his 1977 novel he felt it necessary to later write his own alternative version for TV. Dismissed at the time as an anticlimax the pendulum of history quickly swung in the opposite direction, where it remains today.

Seldom commented upon is the obvious influence on Kubrick of 'Last Year in Marienbad' - already apparent in '2001' - with its endless tracks through an enormous soulless hotel in the middle of nowhere to the accompaniment of a glacial music score, within which Kubrick stages at least two moments worthy of his name for which the film has been carefully preparing us for over an hour: the discovery by Shelly Duvall exactly what her husband (played by Jack Nicholson as if he's auditioning for the role of Richard III) has been labouring on since his arrival and that she and her son are trapped in the middle of nowhere completely at the mercy of a maniac, and the final track into the photograph of Nicholson among the revellers on July 4th 1921 which is quite an ending but - like so much else in the film - to which there is probably far less than meets the eye.

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

Kubrick, King and Nicholson, the writing was literally on the wall, and I don't mean RedRum, forty years on, and The Shining is still a masterpiece.

Kubrick takes King's fantastic book, and builds on it, bringing the story to life in his own inimitable way. It's dark, it's bleak, it's terrifying, a masterpiece in storytelling. You watch as the central character's mental collapse is played out in a spine chilling fashion.

Gorgeous camera work, incredible visuals, that opening is iconic. So many incredible, visual moments, the twins, lift, barman etc, no wonder it's been parodied multiple times over the years, famously by The Simpsons.

An iconic role for Jack Nicholson, he is incredible, well supported by a terrific cast.

It's a classic, 10/10.