Mockingbird In A Blizzard
By Nadia Ranaputri

Image source: IMDB

Director: James Mangold
Cast: Matt Damon, Christian Bale,
Caitriona Balfe, Jon Bernthal, Noah Jupe, Tracy Letts, Josh Lucas.

When Ford v Ferrari begins, it starts with the sound of a roaring car engine. Shortly, it fades, and we see a closeup of Carroll Shelby on the driver's seat, in the heat of the race. "There's a point at 7,000 RPM where everything fades. The machine becomes weightless. It just disappears," Shelby says. It's certainly one heck of a way to start a film. By then, I was already intrigued by what this film has to offer. What first drew me to Ford v Ferrari was the fact that it was a biopic, and I was interested in any kind of biopic. Second, it was because of its director James Mangold; I wanted to see what he'd do next since Logan. Third, and perhaps the main drive of why I wanted to see it: Matt Damon and Christian Bale, a duo that perhaps I never knew I needed until now. To tell you the truth, I know next to nothing about racing, it was never something I tend to watch on TV, but that definitely won't be a major obstacle for those new to racing and wants to give Ford v Ferrari a go, because beneath the surface, it offers so much more than that. If anything, it's bringing back the classic underdog tale, the type that we don't see often nowadays. 

Ford v Ferrari begins with former race driver Carroll Shelby (Matt Damon), who due to his health condition, is forced to retire from racing, and currently owns his own motor company. Elsewhere, Ford Motor Company is on the verge of bankruptcy after lack of success in their sales. In order to boost their image, Ford takes it upon their hands to improve their automotive and compete in the upcoming 24 hour Le Mans race ("We know how to do more than push paper," Henry Ford II says at one point). Ford eventually takes notice of Shelby's reputation and recruits him to build a car that is able to not only race at the 1966 Le Mans, but is fast enough to beat the juggernaut that is Ferrari, a constant winner of Le Mans for the past years. Shelby eventually takes in former war veteran and mechanic Ken Miles (Christian Bale) to assist him. Knowing Miles' extensive knowledge, experience, and above all else, passion of the automobile; Shelby also enlists Miles as the car's driver. Despite Miles and Shelby's best intentions, representatives of Ford raise concerns over Miles' recruitment, believing that his temperament does not present Ford's ideal image as a driver; eventually causing an internal rift between Ford and Shelby.

Christian Bale and Matt Damon no doubt drive the film right home. Their chemistry is superb, and is the thing that really kept the film on its two feet. Christian Bale as Ken Miles is the devoted family man, and undoubtedly the film's heart. Bale steals every scene he's in, whether it's him scolding his co-workers for not understanding the car on the inside out, or when he's in the quiet moments with his family. Miles is sort of the film's wild card, he's not always in the best terms with other people and he's someone who would rather do things his own way; but once he's in the driver's seat, that's a whole other story. It's no surprise that Bale always brings his A-game, and this film is no exception. Matt Damon, on the other hand, is the much more stern yet still light-hearted Carroll Shelby. Like Bale, Damon always knows when to step up his game. Damon is given great moments that gives him that charming charisma, especially when it comes to comedic timing (which, if you've seen The Martian or literally any video about his staged feud with Jimmy Kimmel, you know that with a good script, Damon can certainly nail comedic timing). While Ken Miles is the heart of the film, Carroll Shelby is the soul of it. Together, these two make a mighty fine dynamite duo. Their chemistry is a joy to watch, and the film just elevates whenever they're on screen together. Caitriona Balfe and Noah Jupe are also the film's standouts, providing some of the film's emotional and little moments. 

Image source: IMDB
 
At its core, Ford v Ferrari is really a story about friendship, and it's not as cheesy as you think. Again, part of this is due to Bale and Damon's charming chemistry. Their constant banter is a delight to watch. While the film has many scenes that will sure invest race car fans, it's a character driven story about a struggling race driver with a family to provide, who is passionate about what he does and knows each and every car inside and out; but isn't considered a suitable representative of a brand by the very company he works for. It's a story about a developing friendship that endures even the most intimidating obstacles, and how it becomes an everlasting bond between two people who in the end, are equally determined and ardent about something they truly thrive for. Ford v Ferrari relishes in both the quiet and epic moments. It has scenes like Ken Miles driving with excitement written all over his face, and in the next, Miles is hearing a race on the radio and pointing out the driver's flaws while he tinkers in the Shelby garage with a sorrow look. While this film packs plenty of exciting races that will sure entice the audience, it doesn't shy away from the slow moments, especially when it focuses on Ken Miles' relationship with his family, particularly with his son. 

The racing sequences are beautifully shot and create a good amount of tension and fun. While it may seem like it's gravitating towards the typical structure of a race segment that's present in previous films, Ford v Ferrari changes the game and sells the scenes with plenty of innovative shots, exquisite set design (the amount of work they did to even recreate almost every single detail of the infamous Le Mans track is insane), and an investing buildup. It's a lot more reliant on practical stunts than CGI, making it much more genuine, with each racing segment getting better than the last. Mangold directs the scenes flawlessly, putting the audience on a whirlwind ride on the 24 hour Le Mans track. The scenes incorporate the perfect amount of pure adrenaline rush while building tension. It rarely ever feels like it's dragging, rather like it's constantly taking the audience by the hand have them gripping for dear life from the very beginning until the very end. In addition to the visuals, the sound design is also excellent. Once the races begin, the sound goes all out on injecting the right dose of momentum at the roar of every engine, and at the lurch of every turn. There's nothing quite like the feeling of being in the driver's seat of a Ford car and hearing its glorious sound on the big screen.

Image source: IMDB

Sure, the film doesn't go straight to the races in the beginning, but if it did, we wouldn't be as invested to the characters if we don't get to see their motives. You might feel a slight drag during the first act, but it's efficient enough to provide a clear backstory to the characters and establish the overall conflict. Business meetings and corporate paperwork don't exactly scream "thrills", but at least it knows how to make it investing enough so that we know what's at stake here. Because in the end, the real conflict isn't between two companies, but between the dreamers and the businessmen. There's the side that wants nothing but to feel the roar of the engine and the rush of the road, then there's the side that's more concerned with corporate presentation than the genuine thrill of the race. Aside from character, one of Ford v Ferrari's delights is the humor. This was one of those films where I genuinely laughed, especially when it comes to the ongoing back and forth banter between Ken and Carroll, like a particular scene where they engage in a small fight while Ken's wife watches comfortably from the front lawn with a 'I can't believe these two idiots' look on her face.

What makes Ford v Ferrari stand out is how they execute a seemingly by the books type of story and turn it into an elevated masterwork. It may have the typical formula for biopics, and some aspects actually make your eye roll; but the film knows how to hit the right beats in order to execute it in an excitingly fresh way. Whether or not you're a fan of racing, Ford v Ferrari is a guaranteed good time. Heck, I don't even watch racing, and I still enjoyed the film. Ford v Ferrari knows how to make itself accessible, and as a whole, be a really great film. Don't let its long runtime intimidate you, the film just flies by, and before you know it, you're left wanting more. It knows how to build stakes, develop relationships, and imbue fun elements to drive it right home. Anyone looking for a hell of a good time with the racing segments will no doubt be satisfied, this film has plenty of those. But to anyone who's also in for a good story, they'll be content, maybe even more than satisfied with what it has to offer. It knows when to have fun, but it also knows when to turn the brakes and have their characters breathe a little. In those moments, that's when we get to know the characters, their overall personality and their motives. And once those characters go behind the wheel, we're fully invested in their road to victory.

Image source: IMDB

Overall verdict: Ford v Ferrari manages to be accessible to anyone, be it a racing fan or not. Contrary to its title, it isn't exactly a story that revolves entirely around the corporation rivalry between Ford and Ferrari itself, but rather about the people working behind the company to make what seems to be impossible into something truly possible. It's really an underdog story about two people with a strong bond. It's also a story about loss, redemption, and family. Ford v Ferrari may be all about the races, but it's also about the characters and their process towards victory. The chemistry between Christian Bale and Matt Damon are one of the main driving forces that really took the film to its home-run. Their constant banter and shared passion over racing added much needed heart into the story. The racing sequences are excellent, it really knows how to take audience on a thrilling ride from start to finish. It doesn't feel dragged out, rather you feel the tension of every second of the race. These sequences are brilliantly shot and with little CGI present, it makes the sequences all the more thrilling. Yes, it might feel as if Ford v Ferrari ticks most of the checks from Racing Biopic 101, but it's the execution that makes it so much more. 

Stars: 4.5/5 

 

By Nadia Ranaputri

Image source: IMDB

Director: Mike Flanagan
Cast: Ewan McGregor, Rebecca Ferguson, Kyliegh Curran, Cliff Curtis, Zahn McClarnon, Carl Lumbly, Bruce Greenwood, Jacob Tremblay. 

Stephen King is on a roll this year, with three of his novels being adapted into films in the same year. First, it was the unfortunately dull Pet Sematary (although I would still highly recommend King's novel), then the rather solid IT Chapter Two, and now, we get yet another King adaptation that's had a near 40 year gap with its predecessor. The novel itself is three decades apart from the original. At first, it probably seems nearly impossible to follow up with a sequel that is just as iconic as the original novel, or even Kubrick's film adaptation, for that matter. There's a reason The Shining, both film and novel, is regarded as one of the most iconic horror story that is still appreciated today. Kubrick's film had it all: a brilliant performance by Jack Nicholson, a splendid visual canvas, a vast set design, and of course, a can full of ghosts. With such a wide space of a hotel, you'd think that they would drench the entire thing with ghosts and ghouls popping out here and there, but that isn't the case with The Shining. There's something far more ambiguous, a sense that something is on edge and is waiting to be awakened. Decades later, Stephen King marks the return of Danny Torrance in his sequel, Doctor Sleep, which was a very poignant character study of overcoming trauma and recovery. Now, director Mike Flanagan is bringing this story to life, mixing in the ambiguity of Kubrick's film and the intricacy of King's novel.

Taking place decades after the events of The Shining, Doctor Sleep tells the story of the now adult Dan Torrance (Ewan McGregor), who like his father Jack, is a heavy alcoholic when we first see him. Haunted by the ghosts that inhabit the Overlook, Dan seeks alcohol as a way to draw out the demons of his past. Despite his attempts to hide his "shine", Dan eventually finds a new purpose in using his ability when he moves to a small town, whilst also starting his journey to sobriety. Meanwhile, a cult-like group called the True Knot, led by Rose the Hat (Rebecca Ferguson), prey on innocent children who possess the shine by torturing them and feeding on their shine, or "steam" as they call it. During this time, Dan forms an unlikely telepathic bond with Abra Stone (Kyliegh Curran), a young girl with a more powerful shine than him, and perhaps the most powerful one that he's ever seen. Rose the Hat eventually takes notice of Abra's powerful shine, prompting Dan to help protect Abra from being captured by the True Knot; and fully call upon the ability that he's been repressing since his childhood. 

Image source: IMDB
 

Ewan McGregor is fantastic as Dan Torrance. McGregor adds so much to this role, and some of that also comes from Flanagan's outstanding directing and script. Even if Dan's journey as an adult is heavily integrated with his traumatic childhood, his characterization in Doctor Sleep brings many new layers and development to his character. While Jack Nicholson's performance as Jack Torrance in The Shining was one that portrayed a man who's on edge, McGregor's performance as Danny was one that portrayed a much more restraint person, one with a guarded expression, as if he's afraid of reacting to such things. McGregor also adds much needed charisma into Dan. But once the film really shifts its gears, that's when McGregor truly shines. Alongside him is newcomer Kyliegh Curran as Abra Stone, and she too is stellar. Abra is the complete opposite of Danny, yet she couldn't be a more perfect partner in crime. Abra is more open and confident with her gift than Dan ever was, and Curran's performance brings a fine dose of levity and heart. But the standout here is definitely Rebecca Ferguson as the film's antagonist, Rose the Hat. She can swiftly shift from charming to menacing when she needs to; and when that happens, Ferguson's performance is nothing more than top notch.

Doctor Sleep is no Terminator: Dark Fate. It's a compelling story that justifies its existence. Stephen King had masterfully crafted the continuation of Dan's story in his novel, and it has set the perfect basis for the film to adapt upon, and director Mike Flanagan knows that; very, very well. Let's talk about Mike Flanagan for a second, because he's able to take the reigns from Kubrick effortlessly. If you're familiar with any of his previous works, be it Oculus, Gerald's Game (another Stephen King adaptation), or The Haunting of Hill House, you know he's perfect for the job. If anyone could do the sequel to The Shining justice, it's Flanagan. Doctor Sleep, much like the child portion of It, feels so much like a character study that happens to be sprinkled with bits of horror over it. It essentially takes laser focus on Dan Torrance's struggle to prevent himself from turning into his father. Doctor Sleep follows the reigns of those character focused Stephen King adaptations like The Shawshank Redemption, or even its own predecessor, The Shining. It takes its sweet time to really flesh out his character, because if we're to root for him, we have to know his character inside out, and the more fleshed out our protagonist is, the more we care for him. And in return, we're just as invested in his journey as an adult as we were when he was a child in The Shining. Danny's personal struggles are deeply explored here. He doesn't want to end up like his father, but eventually succumbs to alcoholism to draw out the literal ghosts of his past.

If you compare both Doctor Sleep and The Shining, they both have vastly different color palettes. The Shining has a much more vibrant color compared to Doctor Sleep, which is ironic considering that it's a horror film about a man's downfall into insanity. You notice that Doctor Sleep doesn't really follow the same style this for the most part, since it's emphasizing on someone who's already at rock bottom rather than one who's in the process of gravitating towards it. The cinematography too, is simply stunning. It takes a similar approach to the way The Shining did it, which was with most characters front and center whenever it chose to focus on their arc. Doctor Sleep however, does have more versatility in their shots. Some scenes have an effortless camera tilt that gives the shots a little more flair, and isn't always static. The interesting thing here is that they emit a feeling of wonder, yet at the same time, tension. It even gave a scene like a character gliding in the air a bit of a horror-fantasy feel. This is helped wonderfully by the haunting score of The Newton Brothers, which doesn't overstay its welcome too much. In fact, this is also possibly one of the film's homages to The Shining. There's a lack of that tension-filled music that usually indicate an oncoming dire threat or jumpscare. While some scenes have those, it's also reliant on silent tension of the scene itself (it's instead replaced with the constant sound of a steady heartbeat), which helps make the scenes so much more unsettling.
 
Image source: IMDB

Those who are unfamiliar with The Shining might be wondering if they have to watch its predecessor in order to understand Doctor Sleep. The answer to that is yes and no. Doctor Sleep manages to be a story of its own, and perhaps if you're really not in the mood to look to much into it, you can pretty much understand the story that Doctor Sleep is trying to tell for the most part. It's not too reliant on its predecessor, but it does act like a sequel for the first 20 minutes, since it is a flashback and it focuses on the things that happened right after the events of The Shining. Moreover, there are things that will mean a lot more if you have watched The Shining, particularly in the third act (it's a big plus if you've read the novel as well). This includes references from the dialogue and visual cues of its predecessor. Someone who is new to the Stephen King world, or new the world of The Shining in general perhaps won't bat an eye at some of its homages and references. Despite the fact that you could go in to Doctor Sleep without prior knowledge of the first film, I still highly recommend watching The Shining beforehand (if you haven't) to really grasp the overall concept of where Doctor Sleep is going towards. Other than that, the film has its own standalone story. Doctor Sleep doesn't go full Avengers: Endgame, meaning that it doesn't fully alienate the audience that aren't familiar with the previous film that came before it, but at the same time, it's giving back to those who are already familiar with The Shining, whether it is the novel or the film.

If you went in to Doctor Sleep expecting a full out horror film with jumpscares here and there, you're not going to get a lot of that here. Doctor Sleep isn't the type of film that will rely on scares to get the audience invested, but it does have scenes that really get under your skin, particularly once you see what The True Knot does to their victims. The tension is there, and it builds up ever so slowly until it's the right time for the story to really amp up its scares. It doesn't only want the audience to be afraid of the antagonist, but it also wants them to be afraid for the protagonists who are going against them. In The Shining, the very concept that even a seemingly normal man could succumb to the temptation of insanity is what makes it much more unsettling than the biggest jumpscares. We might not be scared of the ghosts that inhabit the hotel, but rather of the man who would be affected by them, and the family that watches helplessly from the sidelines. In Doctor Sleep, we're witnessing how such an event could traumatize a child to the point where its horrors would come to haunt him even until his adulthood. We're seeing how this trauma manifests and turns the child into the very person that he was trying not to become. This is what Doctor Sleep is: not a horror fest, but a depiction of a lasting trauma and how it can affect a person. That's the main essence of Doctor Sleep, and the very reason why the horrors he would endure later as an adult has clear stakes and tension, and we become fearful of what is to come for him.

If there ever really was a flaw in this film, it's something that's really only coming from the standpoint of someone who has read the novel. There is a particular arc involving a one night stand that felt brushed over, and I couldn't help but hoped for a little more on it, since that arc became one of Dan's biggest guilt that haunted him throughout the novel. I consider this as more of a nitpick than an actual complaint, though. Nevertheless, Doctor Sleep is an investing film with immense focus on the characters to drive the story and hammer it right home; which is why Dan Torrance, Rose the Hat, and Abra Stone are really the ones left on our minds long after the film ends. And that is what's at the heart of most Stephen King stories: the characters. In the end, we're invested in the characters that King has crafted, we care about their struggles, and we want them to get the ending they deserve. There's a reason why we want The Losers Club to overcome their fears and defeat Pennywise in IT, or why we want Paul Sheldon to give Annie Wilkes a taste of her own medicine in Misery. We want some of these characters to succeed because they're so masterfully crafted and given such depth. Doctor Sleep is no exception. It's obviously not going to beat what The Shining already did so masterfully, but it's damn close to it, and I'm more than happy with that. 

Image source: IMDB

Overall verdict: While Doctor Sleep forgoes the obvious things that pop out from the dark, it's much more focused on unsettling imagery, like when the True Knot tortures one of their victims (a scene that really made me clench my knuckles). It's also focused on character, and how vital this aspect can be in order to really drive the story. They couldn't have picked a better director in Mike Flanagan. Flanagan really understands how to emphasize humanity and the things that can truly get under your skin as oppossed to just sticking with jumpscares. Ewan McGregor is excellent as adult Dan Torrance, while Kyliegh Curran as Abra injects that much needed levity and complements McGregor's Dan in wonderful ways. The standout however, is Rebecca Ferguson as the film's antagonist Rose the Hat, who's just as interesting and just as menacing as her novel counterpart. Unlike IT Chapter Two, Doctor Sleep is a more subdued type of horror film. It's not as reliant on jumpscares and ghouls that much, but rather on character and atmosphere, which is really what's at the heart of most Stephen King stories. But the tension is still masterfully built, slowly laying out breadcrumbs until it reaches its destination. While it won't be as pitch perfect as The Shining, Doctor Sleep joins the ranks as one of the best Stephen King adaptations.

Stars: 4.6/5

You can also read my review of The Shining here



By Nadia Ranaputri

Image source: IMDB

Director: Stanley Kubrick
Cast: Jack Nicholson, Shelley Duvall, Danny Lloyd, Scatman Crothers.

What's the first thing that comes to your mind when you hear The Shining? Is it the creepy twins in the hotel corridor? Is it Jack Nicholson's memorable performance? Or is it the ever infamous " Here's Johnny! " scene that has been referenced to death in countless films and TV shows? Whatever it is, there is no doubt that The Shining has some kind of impact in the film industry, whether it is as one of the icons of the horror genre, or an iconic film in general that has been a staple for film lovers for years. Based on the 1977 novel by the master of horror himself, Stephen King, The Shining has cemented itself on the Horror Walk of Fame. In a way, director Stanley Kubrick has made masterpiece that has been remembered for decades, and that's due to the fact that very few films ever got under your skin. The Shining is an unsettling depiction of paranoia and insanity, of a torn family, and of man's downward spiral into madness as he spends months in an isolated hotel with secrets that are yet to come to light.

The Shining begins with recovering alcoholic Jack Torrance (Jack Nicholson), who accepts a job as caretaker of the Overlook Hotel, which closes during months of harsh winter. Torrance has a questionable incident that caused him to lose his previous job, so he takes this opportunity to possibly redeem himself and have a bonding moment with his family. And so it goes, his wife Wendy (Shelley Duvall) and son Danny (Danny Lloyd) accompany him and gets the hotel all to themselves for the coming months. Unbeknownst to both parents, Danny possesses a telepathic ability known as "the shining", in which he is able to enter the minds of others through a "shine" and see premonitions; making him the first to be aware of the hotel's hidden secrets that lurk in its halls. During their stay at the hotel, Jack snags the chance in his time of isolation to chase his dream of becoming a writer by starting his own book. However, things start to escalate when the hotel begins to reveal its inner demons, or the ghosts that inhabit the hotel, hence the twins in the corridor, and the woman in the mysterious Room 237. From there, the hotel begins to influence Jack, which leads to a slow spiral of insanity. 

Image source: IMDB
 
From the moment Jack begins his descent, you feel that great sense of dread, of knowing that whatever is coming is inevitable. Part of that is due to Jack Nicholson's incredible performance. Even from the way his eyes immediately bulge out when he snaps, to the calm yet eerie tone, his performance makes you feel that he's slowly succumbing to whatever lurks in the Overlook. There's a particular scene here that is not only one of my favorite scenes in this film, but perhaps one of my favorites in any film ever; and that scene is where Jack stalks Wendy up the stairs saying, "Wendy....darling...light of my life, I'm not gonna hurt you. I'm just gonna bash your brains. I'm gonna bash them right the fuck in." That scene alone shows you what a masterclass Jack Nicholson is as an actor. However, I will say, upon reading Stephen King's novel soon after, that the novel's depiction of Jack's spiral downfall is a lot more eerie than the film, given that its length gives it enough time to lay things out slowly. But the film does an impressive job of translating some of that on screen (again, this is partly due to Nicholson's performance). When you watch The Shining for the first time, you might wonder if Jack Torrance was already on edge even before his visit to the Overlook Hotel, and if the Overlook merely pushed him over and he finally snaps.

Props should also be given to Shelley Duvall and Danny Lloyd, who play Wendy and Dan Torrance respectively. For all that Duvall had to go through in order to shape her performance (which is an interesting story of its own), it's hard to imagine that she was once nominated for a Razzie for this, which of course, felt undeserved. Duvall perfectly encapsulates Wendy Torrance's desperation and fear as she witnesses her husband being slowly driven into insanity. Maybe at first viewing, you might feel it's a bit much, but at least it feels raw and genuine. Duvall gives an equally fantastic performance that opposes Nicholson's, making the two play off incredibly well when it comes to the more intense scenes (the staircase scene that was mentioned earlier being one of them). Danny Lloyd was also a standout, despite being a child actor. From his quite demeanor, to his "Tony" voice that gives a ghostly manner ("Danny isn't here right now, Mrs. Torrance.") and his terrified reactions to the horrors of the Overlook, Lloyd's performance is one that simply ties the film altogether.

Image source: IMDB
 

What makes The Shining an iconic horror film is its unsettling imagery. Stanley Kubrick made what is a vast and glamorous hotel into a claustrophobic death trap with nowhere to hide, and that's only from the visual portrayal of the hotel itself, we haven't even gotten to the ghosts that inhabit the hotel. The way Kubrick does this is by integrating wide shots to establish the monstrous hotel that happens to hold the darkest secrets on earth, one of them being a continuous shot of Danny Torrance whizzing through the hotel corridors on his bike. The Overlook Hotel is a character of its own. It's setting the scene, it's laying the traps, and it's waiting for its prey to succumb to its manipulative wonders. The brilliance of The Shining is its lack of a jumpscare. It doesn't overstay its welcome when it comes to the things that shock, rather it's more reliant on atmosphere, to that dreadful feeling of the inevitable. Whenever a character encounters a ghost, it's either done with a sinister violin screech, or one of its best moments, when it's done through nothing but a visual of the character's reaction, and dead silence in between. It doesn't go overboard with the gore in order to emphasize the creepiness of the hotel, rather it feels like it gives constant warning signals for the audience to follow as if it were leaving clues to a treasure. It's a slow build, but it's one that sure pays off at the very end.

As someone who has read the novel as well, I can see in some ways why Stephen King disliked the adaptation. For starters, the novel does give a deeper dive into Jack's character as a more charismatic figure, whereas the film more or so implies that his dark side was already visible from the moment we see him on screen (and like I said before, as if he's on edge for the first half of the film). Had they perhaps highlighted more of Torrance's charismatic side in the film, we would have had a deeper sense of sympathy. Then there's Wendy, who's given more backstory and depth in the novel than her film counterpart. But the film made the wise choice of grounding the story a little more. Instead of its relying on concrete facts that yes, there is indeed a supernatural force behind all of this, there's also the implication of ambiguity. It implies questions as: are the ghosts of the Overlook Hotel truly real, or are they a figment of Jack Torrance's imagination as to signify his return to alcoholism? Even the simple lines of dialogue, like a line aimed at Jack Torrance, "You are the caretaker. You have always been the caretaker," can lead to various interpretations. The film is much more interested in implying rather than laying out an actual explanation, which is another thing that adds to the film's brilliance. Does it make my love for either King's novel or Kubrick's film adaptation any less? Absolutely not. I love both the novel and the film equally. The novel and film perfectly capture a deep insight into a man who is slowly going insane from an unseen force while his family watches helplessly from the sidelines, and both have different takes on the story. 

Image source: IMDB

The Shining is a film that withstands the test of time. Even until now, The Shining is considered one of the best horror films of all time, and for a good reason. It's a Stephen King story at its very best, but Kubrick adds his own take to it. It's pretty much up to the audience's preference on whether or not you like the film or the book better, yet you can't deny that both have their own charms in certain aspects. In the end, The Shining is a character study of a family that is slowly being torn apart. It depicts a father who is doing his best for his family and happens to be a former alcoholic. But then he sees a shelf filled with imaginary ghost booze and he's right back where he started. It also depicts the rest of the family that is affected by the father's descent, of a wife who is unable to prevent her own husband from driving himself into insanity, and of a child with a helpful yet terrifying ability that he is yet to understand. The film may not flesh out every aspect of these characters as much as the novel does, but it at least it gives enough general insight to invest us and sympathize with their struggles. It might not be the scariest horror film out there, but the fact that it deviates from the usual horror cliches such as jumpscares makes it ever the more investing. There's always a dreaded sense that something isn't right, and that things aren't supposed to be what they turned out to be, and the way Kubrick executes this in The Shining is what makes it more effective and unsettling than any jumpscare-reliant horror film today.

Stars: 4.7/5
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