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Drama, Thriller, Mystery, Horror
IMDB rating:
Stanley Kubrick


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Jack Nicholson as Jack Torrance
Shelley Duvall as Wendy Torrance
Danny Lloyd as Danny Torrance
Scatman Crothers as Dick Hallorann
Barry Nelson as Stuart Ullman
Philip Stone as Delbert Grady
Joe Turkel as Lloyd the Bartender
Anne Jackson as Doctor
Tony Burton as Larry Durkin
Lia Beldam as Old Woman in Bath
Billie Gibson as Old Woman in Bath
Barry Dennen as Bill Watson
David Baxt as Forest Ranger #1
Manning Redwood as Forest Ranger #2
The Shining Storyline: 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.
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How to confuse a shallow mind.
I believe the perfect way to describe The Shining is to describe Stanley Kubrick. He is a man with vision and original ideas, but he lacks a purpose. While The Shining aims to be a horror movie, and by the way, fails in that miserably, in my eyes, it takes the worst and most typical horror movie route. That's not necessarily bad, but.

There is always a mystery and the great unknown behind horror movies. This is what The Shining builds up in an impressive manner. The sole terminology and amount of mysteries and mystery elements leads the viewer to think all this build up will lead to an epic conclusion where the great reveal finally tells us what is going on, why is Jack getting insane, why does the boy see those things, who is Tony, what are these shining people and will the black man die first. Nope. Instead we are shown scenes where ghost sets Jack free from the stockroom because that's the only way for him to get out, okay? He needs to get out so he gets out. Of course that is never explained. And this leads to the biggest problem with the story. Nothing is ever explained. "Too many answers will just ruin it." Yeah? I see this as nothing but a terrible excuse for a lousy storytelling and lack of brains since there was hardly anything to get beyond what was told.

The loose ends, unanswered questions and all the other spooky stuff that was in the movie just to make it more spooky and mysterious are, in a one word; cheap. And with few more words; a waste of potential. I guess many of us have seen a meme picture of a dog sitting on an airplane, it looks like the dog is flying it and then there is a text "I have no idea what I am doing." When I imagine Stanley Kubrick directing this film, I recall that picture. I see him behind the camera, the cast, the hotel, the stairs and a text "I have no idea what I am doing" and that's what we call The Shining. Not that the story was even the biggest problem, nor that the ending scene makes no sense due this not being a movie about Jack, but the characters and the sounds too. From this point on, I will act like there are no loose ends, and the story telling and plot is flawless, and I will get into why this movie is bad solely because of it other merits.

In the beginning, I mentioned this failing miserably to be a horror film. The sounds will kill the theme quicker than Kubrick creates a loose end. (This is a joke, so I did not lie 2 sentences ago). I find it incredibly hard to get in the horror mood when the "music" can be described as wheezing. One thing they did miraculously well; they captured the feeling of tinnitus. Seriously, when you hear sounds like that, you go to the doctor and wish for the best. Then suddenly my bass is yelling, I hear the exact sound C-Class horror movies use when jump-scare scene is executed. What does this movie do with a sounds like that? They show us a black frame with a text "Thursday" in it. I ask myself, "Do these guys take this movie as a joke?" but I do not know the answer. I am not sure if these sounds are supposed to be spooky and scary, create atmosphere even, but one thing they do is remind you that you are sitting on your sofa and that you can always turn down the volume because it is just a ridiculously bad sound directing in a movie.

Now, let's get to my favorite part. The cast. Jack Nicholson, what a bastard, I love him. But I see The Shining as his worst acting, not even acting, a role. He looks insane in every single picture that was ever taken of him. How is a man who looks insane a suitable person to be character in a movie where the character changes from your average fellow to a completely insane psycho? Well, he is not. He was a bad pick. I can only say that this is not the story it was supposed to be. There is good acting too. Shelley Duvann does an amazing job acting out a dull retard. Then a question. Who likes dull retard characters? This movie is her story, her family goes insane, she is in the middle of it all, she experience the horror. Then a second question. Why should we give a damn about what happens to a retard like her?

This leads us to final and one of the biggest elements I am going to analyze. The kid. He is shining, he hears Tony, he can contact other shining, he is the reason why Jack does anything, he sees the horror, glimpses of past, future and future past, he is everything this movie is about. He drives the story towards the truth behind the hotel and towards everything this movie is. But what is he exactly? He is called a plot element. This is not a bad thing in my eyes, I think it is great. What is bad is what he wasn't. Imagine with me. He makes Jack shining, he makes Tony talk to Johnny, he resolves Jack's humanity, he is the one who experiences the horror while being the horror itself. After this the movie ends the same way, but now it has changed to a story about Jack who was inflicted by the horror of the kid and Tony. Instead we get an ending where Kubrick is basically saying, "Since we don't know how to end this movie, let's insert bunch of stuff which makes it look deep." Cop-out. That's how you confuse a shallow mind.
this movie SUCKED
These writings write about the end of the plot so don't read it if you haven't seen this rubbish.

I found this rubbish film in the horror section which made me think it would be a horror. If I owned a video store I'd put it in the BORING section. This film is so rubbish it will make you feel like you have lost your socks.

This film contains endless shots of people driving as if that was scary. Well I drive to work and back (and sometimes to the store or to visit my cats) almost every day and trust me it's not scary. It even starts with 20 minutes of some people driving. Even the little kid does it too. Round and round he goes and he never stops. What's so scary about watching a little kid riding a bicycle for an hour? I think NOTHING and if you watch it you will not think so too.

The family in the car arrive at a big castle and they are given a tour just walking around endlessly looking at kitchens. Then the man walks around a for an hour and tries to kill his family for no reason. That's all that happens and as you can see it's rubbish.
Muppets are scarier
Maybe I'm being a bit sarcastic but the truth remains that this movie was not horrifying. This was supposed to horrify us????? I know exactly how some people will feel when they read my comment, cuz I felt the same when I saw someone write something like this when I read a few comments about Terminator 2 or even Fight Club. But sorry guys the truth has to be told, and yes everyone's perception matters its the whole lot of perception that make or break a matter. Learn to live with it instead of just flinging curses at me. Now about the movie, I must ask, which is the scary part??? The isn't genuinely 1 descent scene to make me feel terrified and or anticipate. And yes I'm quite easy to get scared, when I was younger 13 ghosts terrified me (seesh)... I am an avid horror fan and have seen from gore and violent movies (Zombie flicks) to complicated (Donny Darko)to completely non-sense movies. But nothing even comes close to this. I saw Zombie Holocaust a day back and thought that no movie can be worst, I'm still correct but maybe it was all the overhype and the anticipation that made me absolutely NOT LIKE The Shinning. I mean why is the movie even called "The Shining", it should be called, Jack Nicholson Balding, cuz that's what's the camera mostly covers. His balding spot(s). The end is the worst ending ever possible and nothing makes sense. If a ghost can unlock the door, why cant he kill the mother and the kid? If the Perverted Black Cook had the Shine and knew something was wrong, why didn't he bring a weapon? Was he mentally blinded by the Shine??? Or was he thinking he was macho enuf? For all I know Jack may have just forgotten a fuse outside somewhere and his wife would have found it and it would still be the same movie, now Stanley wishes he had called it the Balding.... Plus I rally didn't feel claustrophobic and or scared almost never. The only time I got a little (yes it was a tiny winy little wittle moment) when I saw the old lady. Maybe be it was the anticipation or maybe it was the horror factor, but I still believe that this movie could have been much better off with a genre of "Thriller" Horror sheesh Dark Knight was more horrifying
I waited for this?
After reading previews about this maybe being the scariest movie of all time, I was extremely disappointed at this laughable excuse for a horror movie. Jack really was a dull boy in this mis-hyped, miscast feature. Granted, King's novels don't always translate into good movies,but even his TV movies put this piece of trash to shame.
Incoherent, lifeless, hack film-making. Horrible storytelling.
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."
All work and no play makes Jack a dull boy..
...So declares one of the most notorious scenes in The Shining, the definitive psychological horror film and arguably the movie that has spawned the most conspiracy theories of any genre. It's easy to see why this appeals to people; The Shining is almost confounding in all of its enigmas. Virtually all of the theories surrounding it will never be confirmed, and that might just be the point of why it's so unnerving. Nothing makes any true sense, and the end of the movie leaves us with more questions than answers. The ambiguity of this movie is part of what makes it so genius. It can be viewed as a psychoanalytic profile of a mentally ill man and his schizophrenic son, or if you're more of a classic horror fan, you can believe that malevolent ghosts caused a family to be torn apart. Kubrick excellently presents the implausible in a way to where we are forced to accept it. Initial reviews lamented the film for not being scary enough, and the Shining isn't so much pee-in-your-pants terrifying as subtly unnerving. In fact, the more gory interludes are the parts where the film rings false. The movie is most haunting when nothing really seems out of the ordinary; it triggers a subconscious, evolutionary type of fear that happens when you feel a breeze on the back of your neck while you're home alone. The perceived harm that could be enacted by the apparitions in the Overlook Hotel can only cause damage if you let them; Jack eagerly accepts this paranormal manifestation because it is immediate almost from the start that he seems to resent his family. He is verbally abusive to Wendy and we already know that he has harmed Danny. After giving up alcoholism, Jack resorts to stoking his maniacal fantasies, provoked by the Overlook, to turn to evil. The ability to make conscious decisions is uncertain, as a theme of unchangeable destiny is present with that chilling (no pun intended) ending and the mysterious origins of Grady and his assertive quote that Jack has "always been the caretaker". Has Jack's spirit always been with the hotel, or is he experiencing delusions brought upon by his dissatisfaction with his domestic life?

One interesting thing I realized is that The Shining avidly rejects the concept of a nuclear family. Jack is unhappy with Wendy, and it is heavily implied that their sex life is nonexistent, leading him to be seduced by the woman in the bathtub. He views Wendy as taking away his freedom, and he longs to be able to engage in hedonism and not fret about providing for his family ("all work and no play makes Jack a dull boy"), prompting him to incite "taking care of them" like Grady says he did to his family. It presents an interesting cynicism of traditional family that is furthered by the uncertainty surrounding the outcome of Wendy and Danny.

Kubrick uses dichotomy as the main way to achieve uneasiness. The Overlook Hotel leaves the Torrance family isolated from the rest of the world, yet its cavernous size provides a horrifying maze where anything could be lurking around the corner. The most obvious duality is reality versus fantasy, and how to differentiate them. Fascinatingly enough, there's also a blurring of past and present. Jack proclaims that he had an overpowering sense of deja vu when he entered the Overlook, and we're led to believe by the ending that he was always at the Overlook...but the character Grady, while seemingly supporting this theory, does not go by Charles as the caretaker that went mad in the exposition of the movie did, but Delbert. This anomaly produces a new theory that the Overlook projects personas that are similar to their counterparts in the normal universe. These personas are similar enough that you feel companionship with them, but dissimilar enough to tempt you into joining them. This can be demonstrated with Tony, the medium through which Danny conjures up his shining. Tony seems like a completely different entity, but the strongest piece of evidence to indicate that he is a reflection of Tony is the fact that Danny's middle name is Anthony (despite only being mentioned in the novel). These dichotomies create an overpowering sense of unknowing and tension caused by the dread of uncertainty. The Shining utilizes this technique to create an eerie game of cat and mouse, that in my opinion, lasts throughout the entire movie. Kubrick's dedication to adhering to all of the aforementioned themes succeed in creating a deeply unsettling and horrifying experience that constitutes one of the greatest movies of all time. 10/10
All play and no work makes Jack (Nicholson) a VERY dull boy. . .
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.
Chilling and Memorable
'The Shining' is often named as one of the greatest horror films ever made. And while I do agree that it is in the top five in the horror genre, its not exactly a perfect film. It has its superb moments and its lackluster moments, in my opinion.

As far as the good points go, Jack Nicholson is one of the obvious ones. Nicholson is a very talented actor and his role in this film is a display of his brilliance. He has the ability to turn almost every role he plays into a one-man show (for example, his iconic role as The Joker in 1989's Batman). He makes his character, also ironically named Jack, dimensional. He's menacing, conflicted, witty, and eventually psychotic. Danny Lloyd, also playing a character of the same name, also does a great job with his role as the little boy who "sees all". The film in itself, based on the infamous Stephen King's novel, has a disturbing atmosphere to it. A few of the famous scenes ("Redrum", the twins in the hallway, "Here's Johnny!") definitely leave an impression on the viewer.

As far as the negative goes, one big problem I had with the film was the casting of Shelley Duvall. She is, at least in my opinion, a horrible actress. Or shall I say over-actress. But, to her credit, I'm not sure if it was her acting or if her character was actually written to be shrill and stupid. Either way, she was distractingly bad and unintentionally funny in most of her scenes. Also, the running length does go a little long. It clocks in it at over 2 1/2 hours. I can watch a film that long if the story keeps moving and developing. There are a handful of certain scenes that feel too drawn out and prolonged, dragging the pace of the film unnecessarily. I understand King's novel was very lengthy, but the film could've been just as effective if cut down about 30 or 40 minutes.

That being said, this film is still breath-taking and much better than some of these 'slasher' flicks that have come out in the last decade or so. But, it does have its flaws at the same time.
Excellent Film. Stanley Kubrick was a master. Jack Nicholson and Shelley Duvall are great. Must see film.
I've seen the Shining a few times in the past and I just sat through it again last night, after watching a bunch of below par even zero films. I will discuss those later. The Shining is a master film. I don't believe it's perfect. I have not read the book, so I cannot comment on differences with the film. I have read other Stephen King books and I know he's very visual and in-depth with his characters. Films don't have the luxury of time to describe and show everything. If you want to see the best movie ever, first acquire some imagination. Then read the book.

Here's what I saw in the film: It is professionally made. Incredible cinematography from beginning credits to the end. Great scenes. Great dialogue. Great acting. Nicholson is incredible. Maybe a little too much in areas but that's OK. Shelley Duvall was also incredible. Some people said she was a weak character. I did not see that. I saw a woman who was trying to protect her son and to deal with an angry loser husband and not trying to make things worse. And she stood up to him and even knock him out and protected herself. And the terror Duvall showed I have not seen in too many other movies. It got to be a bit too much with too many similar scenes and that I believe is in the director's hands, some of those scenes were apparently cut out of the European version. The music was mostly great. But there was a scene nearing the end where there was a droning annoying sound which was way too loud. Again, maybe they can remaster that volume down. Danny Lloyd as the kid was great. He showed some great terror and his dialogue and delivery was all beautiful. The redrum murder dialogue was a bit silly. It went nowhere. Barry Nelson was also great as the hotel manager. Scatman Crothers was good as the cook. He was essential in his death scene. Great stuff. But they should have cut some of the scenes where he's traveling back to the hotel. All that slows the pace and detracts rather than adds to the suspense.

My biggest complaint is they spent too much time on Duvall's terror, it became repetitive. And they spent too much time on the cooks return to the hotel, all boring nonsense. There was a few other scenes where Duvall and the cook called the cops on the radio, that should have definitely been shortened. I also found it odd that here's a family with a school age boy that's not going to school or there is no home schooling. They should have made a comment or a scene where the kid was being home schooled rather than always trying to find something to play with. There was also the talk with the kid and the cook that they both had this power of the "Shining" which was not explored further. Only in that the cook knew that there was a problem. They should have also gone into how the hotel being built on top of an old Indian burial ground related to the murders, and what's up with all the ghosts and how they relate to the caregiver. There also should have been a few more scenes showing Jack gradually losing his mind. So, this is definitely not a perfect movie. There are plot holes. I only listed the ones that I found. I'm sure others can find another 100 other problems. However, unless someone has an unlimited budget and time maybe they can make a more perfect movie, we have to balance the good with the bad.

So, I believe I will take my own advice and read the book.

I know nothing about the best horror movie ever nonsense that people keep throwing around on IMDb. I just viewed for the first and last time Rosemarie's Baby. People love this crap and say it's the best horror or even the best movie ever. That's a perverted joke. It's not even a good movie. The best part is they had the budget to hire real actors. The story, the packing, the dialogue, the music, ALL CRAP. Just a plain BORING nonsense of a movie. Now, others say Alien is the best Sc-Fi movie ever. It's not. What it is is an excuse to show expensive dolls and props. Again, worst acting, the story is garbage (a bunch of dirtbags in charge of a space ship, smoking cigarettes, rerouted to capture a deadly alien. Maybe the company should have sent a professional military team rather than these idiots. But then it would have turned into another Stallone/Schwarzenegger/Wills movie). Now there's a special hatred I have for a movie called Suspiria, by Dario Argento. People love this garbage. On the contemporary front of loser films, we have the grand loser of them all the so called Star Wars VII, The Farce Awakens. These are not films, but simply a copy/paste cheap comic book dumb cartoon movies. They're all the same. Don't think too much. Once someone pays the ticket price that should be enough, they shouldn't have to spend anymore brain cells to think about what is going on on screen, everything is spelled out, and nothing is left to the imagination. A bunch of jumpy action scenes, a roller coaster ride to nowhere.

Well, at least we have The Shining. Grade B+, 8 stars.
The tension is everywhere
The movie is amazing from the beginning to the very end. You simply can't stop watching and the tension is present at all time. The first time I saw it, I couldn't move an inch, because I didn't want to miss a moment of it. I've seen the move for a few times now, but it still takes my breath away. It is amazing, that a movie, which was made in 1980 can get your attention at it's every second. Jack Nicholson appears as a real psycho and every time you see him appear on screen, there is this slightly uncomfortable feeling. His acting is of course astonishing! He can convince you completely through out the whole movie. But the thing I find most interesting is the ending. Because you have to think for a while to figure out what the photo means. And when you just gives you the chills!
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