After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
Robert De Niro,
Signing a contract, Jack Torrance, a normal writer and former teacher agrees to take care of a hotel which has a long, violent past that puts everyone in the hotel in a nervous situation. While Jack slowly gets more violent and angry of his life, his son, Danny, tries to use a special talent, the "Shining", to inform the people outside about whatever that is going on in the hotel.Written by
J. S. Golden
A caption reads "THURSDAY" and then shortly afterwards we see Wendy and Danny watching The Road Runner Show with its distinctive theme song. In the late 1970s that show played only on Saturday mornings. See more »
Hi, I've got an appointment with Mr. Ullman. My name is Jack Torrance.
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The movie's opening titles are also the only instance in any Kubrick film where scrolling credits, rather than title cards, are used. See more »
In all previous video versions of The Shining, (prior to the 2001 DVD re-release), each title card failed to change in synchronization with the music. Upon being released on DVD, each title card does in fact change in sync with the music, the way it was originally intended. See more »
Amazing achievement in filmmaking and the art of terror.
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.
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