the shining isn't scary


posted on: October 19, 2020


Christ, no, on all accounts. See, I have this view of horror that has nothing to do with bloodshed or gore or how hulking your monster is. As Despite The Falling Snow is about to hits cinemas, Matt Glasby skewers another snow-bound 'classic'. If you're going to shoehorn The Shining into a genre in which it doesn't belong, then, unsurprisingly, it's going to come up short when judged by the standards of that genre. Who does the best Southern accent in The Devil All The Time. Please refresh the page and try again.

Why the Shining Isn’t Scary to an 11-Year-Old. Some of this is to be expected, I guess. Seriously, that movie isn't scary.

Alcoholism? Recently, because I’ve had the boxset forever and it’s just been staring at me from my shelves, I’ve been re-running the Nightmare on Elm Street series, something I’ve never actually done from beginning to end. This entire movie has always bugged me, but the reasons have shifted over the years. Imaginary? These are, after all, spirits that can open doors, hurt children and, in one memorable scene, dress up like The Gruffalo and suck someone off. Posted by Nicole Baer. When he rigged Elmer Fudd’s rifle, or tricked Yosemite Sam off a cliff, you cheered Bugs on. Horror showed the audience—mainly children and young adults, groups that have particular overlap between the two modes of storytelling—What Not To Do®, and what would happen to you if you did Certain Things™. Not scary.

The killers want money and the victims are a rich family. It's like the uncanny valley thing, things are scariest when they're just slightly off from reality. By proceeding I understand and agree to AMC's.

Similarly, Wendy is – in King's words – little more than “a screaming dishrag”, and a clearly traumatised Duvall (who received a Golden Razzie nomination for her performance) spends the entire film desperately trying not to look into the camera, as if terrified that Kubrick will shout at her. There is suspense, but it only appears in the second half of the film. Stanley Kubrick's 1980 Stephen King adaptation, The Shining, is, as everyone but King himself agrees, not a bad film.

When the perfectly choreographed Steadicam shots catch the actors’ faces, you can see themonths of takes in their eyes, giving everything a stiltedness that speaks of cold Elstree soundstages rather than hot, pulsing fear. Please deactivate your ad blocker in order to see our subscription offer.

Problem is – whoops!

I busied myself with some chores, and checked in on the girls about two hours later.

Straight out of a Looney Tunes short. It was in the 1980s, too, that we saw a real backlash towards the feminist movement.

Some went to prison for menial shit. There might be theme, there might be a message, and you could argue some creators still exist in the mode King examined in his youth, but they weren’t primary.

I don't see the difference in his performance in One Flew Over the Cuckoo's Nest and in The Shining.

A family heads to an isolated hotel for the winter where a sinister presence influences the father into violence, while his psychic son sees horrific forebodings from both past and future. Is it a spook story? The height of slashers was in the 1980s, and built around the idea of “well, these guys did that, so we can do this, too”, which is why there are so many holiday-themed slashers. The slasher genre has a formula, where a traumatic event occurs (death of a child, a maiming, a near-death experience, a shunning of some type), and the central figure of that event comes back on an anniversary to wreak havoc on various victims. Did those under-age drinkin’, pre-marital-sex havin’ campers and teenagers deserve to be killed and terrorized?

This turned out to be the case with horror movies as well. That chilliness is an integral part of the problem. I love The Shining! I love horror. The breaking of taboos, punishment for transgressions done stopped being viable reasons for why a character had to die.
Back during the 90’s – most likely because halfway through them I came into possession of a seven-year-old step-daughter – I started to notice that I didn’t really understand kids anymore. But I'm not fan of The Shining. The soundtrack is excellent, the suspense is not bad, the acting is also on the level.

What if my step-daughter was plagued by nightmares? One could argue that he was an abusive drunk, so he deserved to become a monstrosity. All of the above?

Even King’s own work is not immune to this shift in horror fiction’s purpose.

Being grossed-out isn’t scary. But there’s Krueger mugging and making the audience laugh. Not Krueger, who achieved a form of immortality.

In our regular polarising-opinion series, Total Film writer Matt Glasby asks, is it just me? Sure, it was a good movie, but only an idiot would actually be scared by it.

“Try this. Hell, the guy even sleeps madly: arms crossed, eyebrows raised in a crocodilian sneer. It’s an unsettling notion, mainly because, like I did when I was ten, I physically recoiled when Carlos, a character partially deaf due to the abuse he suffered at the hands of his mother, takes a medical Q-Tip to his ear in a dream. You can’t fit a moral criticism angle on a story like that because then, inadvertently, Michael Myers becomes an agent of the status quo, meting out punishment to, for example, the horned-up babysitter.

Are Michael Myers or Jason Voorhees or the World War II soldier in The Prowler or Cropsy in The Burning, actually serving a moral purpose by executing the humping camp counselors? For the first 40 minutes, nothing happens. And what about Jack Torrance?

No, Jack's several pages short of a full novel when we first meet him. In the paradigm of those films, the children are innocent and Craven, to his credit, doesn’t hint at unsavory actions or personality flaws leading to anyone’s deaths. Press question mark to learn the rest of the keyboard shortcuts. You’re not going to find 1980s sentiments there. Long-deceased but with convenient door-opening capacities? To watch full episodes, you must have a cable provider that supports New York, For the first 40 minutes, nothing happens. But the New Era Is Different. It's Kubrick, so not exactly a surprise. There is suspense, but it only appears in the second half of the film. He kills another character with an off-brand Nintendo Power Glove, whipping off one-liners left and right, presumably to the audience (one supposes!).

This got me thinking about morality in horror, the use of transgressions as a means of reaffirming personal ethics or societal mores.

The Shining is a gothic horror novel by Stephen King, first published in 1977. Yes, his playing is very good, but it's not difficult for Nicholson.

Meanwhile, preternaturally jaunty chef Dick Halloran (Scatman Crowthers) musters gameshow-host levels of peppiness despite being a) the most useless psychic in the history of cinema and b) obvious axe fodder. The concept is ridiculous. King called it “a film by a man who thinks too much and feels too little”, and he’s absolutely right.

Very few were dangerous. My step-daughter would no doubt remember her first viewing of the film for the rest of her life, just as I had. At ten, I was still two years from falling absolutely in love with horror.

I agree I think The Shinning was incredibly influential and important for its time but I just don't like it that much. Take The Shining. I don't mean to be rude to the poeple who thought it was scary. With Jack Nicholson, Shelley Duvall, Danny Lloyd, Scatman Crothers.

The Shining uses fictional horrors (the supernatural ghostly presence in the Overlook Hotel) to explore real horrors like murder and child abuse. I rummaged around in my DVD collection and fished out The Shining.
The real-world horrors are hidden in the subtext.

Shelley Duvall is also very monotonous.

i'm only 14 too. That, to me, is the good horror. – it’s just not scary. I watched most of it either out of the corner of my eye or from the doorway of the kitchen, where I could easily turn away when it got to be too much. Using that foundation is kind of like using only half of an idiom—saying “curiosity killed the cat” and ignoring “but satisfaction brought him back”.

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