The Shining

 

The Shining 

The Shining Review is a very atmospheric and creepy movie starring Jack Nicholson.

Director Stanley Kubrick

Writer Stephen King

Cast

Jack Nicholson - Jack Torrance

Shelley Duvall - Wendy Torrance

Danny Lloyd - Danny Torrance

Scatman Crothers - Dick Hallorann

Barry Nelson - Stuart Ullman

Philip Stone - Delbert Grady

Joe Turkel - Lloyd, the bartender

Anne Jackson - Doctor

Warner Bros Pictures, Running time 142 minutes.

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In the dead of winter, a father and his family visit a remote motel. The hotel has a shady history and is haunted by sinister ghosts impacting Jack Torrance (Jack Nicholson). 

This film is engaging from the start, and it has a distinct atmosphere and tone that intensifies as the story unfolds. In this film, Jack Nicholson is excellent and portrays perfection. 

It isn't easy to picture someone else is doing a superior job to you. But, in addition to Jack's outstanding performance, however humorous in his role, Jack Nicholson is funny. 

The excellent camera work, especially involved, processes views that effectively convey a sense of solitude and add to the highly unsettling mood. 

The eerie music is also very effective at setting the mood. As the movie progresses, it creates a true sense of suspense and dread in the last half-hour and has one of the most satisfying endings ever seen in a film.

I am sure when this film was released, it was terrifying. Unfortunately, I only watched The Shining relatively recently. 

While I can't say I was terrified watching this, I find it an incredibly creepy experience, and it deserves a high rating.

Review:

After Carrie and Salem's Lot, Stephen King's third novel was The Shining. It was released in 1977 to primarily excellent reviews, and it's easy to understand why. 

It's unquestionably a horror classic, but it's extreme and effective at combining a captivating story with psychological reality and understanding, which isn't often the case in King's work but certainly is here.

Stephen King concedes that he tried to aim a bit higher in the preface to this beautifully crafted Folio Society edition. 

It's a simple start to what is, after all, a rather sophisticated book, published in 2001, yet King confesses that it was a crossroads work for him.

The work has a great deal of bravery. But unfortunately, it's primarily recounted from the perspective of anti-hero Jack Torrance. 

A dissatisfied writer plagued by an unpleasant mix of guilt and the ever-present danger of drinking, resulting in a short temper and a strained marriage. 

Torrance has a lot of King in him. But unfortunately, it's not as easy for an author to put themselves underneath the microscope and follow the negative underbelly of their brain towards its rational conclusion as most people believe.

One of the most pivotal scenes in the novel occurs inside the hotel restaurant, which has suddenly become well-stocked and bustling after being empty. 

He is more tempted to murder his family as he takes more alcoholic drinks. The argument is well-made: drinking facilitates Torrance's self-destruction and the external manifestation of his issues.

During the off-season inside The Shining, Jack Torrance accepted a janitor at the Overlook Hotel, intending to use the time to write. 

His spouse Wendy plus their five-year-old son Danny are accompanying him. The hotel, however, has a dark and morbid history, which Danny, who can see ghosts, experiences in flashes. 

So when he sneaks into one of the hotel rooms and discovers a female suicide in the bath, it is one of the most horrifying sequences in the novel.

As the novel progresses, it becomes increasingly brutal, with scenes of cutting razor blades and self-mutilation. It's not for the faint of heart. 

Edward Kinsella's beautiful full-page, full-color graphics with a nightmare feel are included in this version. 

They aren't entirely realistic, but their use of color creates an effect. The book is hardback with a protective case.

It's simple to understand why The Shining has become a horror classic. It is a captivating book that catches the imagination. 

To this day, the narrative continues to inspire others: the new TV series American Horror Story: Hotel pays an obvious homage to it. 

But, as is typical of King, its biggest flaw is that it is overwritten. As a result, vast sections of material don't add to the tale, and it's not the quickest read at over 500 pages. 

In addition, there are so many different points of view that it becomes overwhelming. King alternates between the three members of the Torrance family to divide the family up, which helps to portray how broken they are. 

Still, when other characters take over the narrative, it fails to express how fragmented they are.

However, this is King at his most pleasing stylistically. Most authors would be pleased to claim it according to their work because it is excellent. 

As a best-seller and horror classic, The Shining has earned a position in the Folio Society's canon among literary classics and works of historical significance. 

This is a terrific place to start when you've never read something by King. 

Expect it to be substantially different from the Kubrick film adaption, except for the core idea. In addition, the film is chilly, whereas King's novel is emotionally raw, making it far more effective.

Jack gradually devolves into madness. Then, while their father is losing his sanity, their son acquires the Shining, a psychic power that enables him to go and see ghosts and be controlled by them.

Hope you enjoyed my review on The Shining.

 

Dog Soldiers 

Dog Soldiers Review's 2002 British horror film is set in Scotland. An army training exercise turns into a war against werewolves.

Director Neil Marshall

Writer Neil Marshall

Cast

• Kevin McKidd, Private Cooper
  
• Sean Pertwee, Sergeant Harry G. Wells
  
• Emma Cleasby, Megan
  
• Chris Robson, Private Joe Kirkley
  
• Leslie Simpson, Private Terry Milburn
  
• Liam Cunningham, Captain Ryan
  
• Darren Morfitt, Private "Spoon" Witherspoon

Kismet Entertainment Group, Running time 104 minutes.

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A group of army soldiers is sent on a routine training exercise. They're expected to meet up with some SAS soldiers before beginning their training in the highlands of Scotland. Instead, upon arrival, they discover the SAS members torn to pieces. 

However, it turns out there is one remaining survivor, Captain Ryan. Captain Ryan gives the soldiers hints about what attacked him and killed his troops; distressed and traumatized, Captain Ryan cannot explain what happened.

There aren't many decent werewolf films, which is surprising considering how well-known the creature is. 

But, of course, I am talking about actual Werewolf movies, not films that include werewolves like the Twilight films. 

So we have the British low-budget horror movie Dog Soldiers. Because I am not a great admirer of British movies, I didn't have high expectations for this.

Dog soldiers certainly have plenty of action, shooting, blood, and swearing. The pacing is good, which prevents boredom. 

I like the Werewolf design. The wolf's humanoid creatures are giant, fast, and very deadly. Unfortunately, there seems to be no CG in the manner it should be. The werewolves are simply men in suits, which is OK. 

Still, the cheap budget occasionally shows in the effects, particularly the creatures and gore.

For the most part, the acting is sufficient. However, some of the dialogue is corny and coarse, typical of British films. 

However, things aren't that bad here. Isn't it true that (Sergeant Harry G. Wells) is by far the most lovable character and provides some amusing moments?

It's not very memorable, although there are some enjoyable moments. Nevertheless, Dog Soldiers is a fun film that everyone who likes werewolves should watch.

Review:

Dog Soldiers isn't for you if Hollywood glitz and glam is your thing.

After a short off-screen introduction to the Werewolf, we're introduced to the actors. Next, a ragtag group of British troops takes part in an exercise session right at the heart of the Scottish Highlands. 

The conversation is bright and British right from the start. There are no Dick Van Dyke accents or lines here; the language is genuine in a way that only a British person can understand.

The cast is also entirely British, with a dour Scot (McKidd) and two foul-mouthed, wisecracking Geordies leading the way. So there aren't any stereotypes there! 

However, there are a few aspects that stand out right away. One, most of the cast is unknown, except for Sean Pertwee. 

Two, some of the young performers nearly scream at moments, "How can I do this acting?"

But, on the other hand, the performers are at their greatest when the conversation is funniest when the troops are joking around. 

Darren Morfitt shines as Spoon, who is frequently amusing. This man does a fantastic job with his hilarious delivery.

The Werewolf makes his first appearance at the half-hour mark. But, unfortunately, it's only seen in glimpses at first, as it follows the troops through the twilit woods in silhouette. 

Nevertheless, it's an excellent introduction to lycanthropes. Seconds later, the Soldiers try and play patty-cake with the monster arm through the roof of a land rover. 

Act 2 sees the troops locked away inside an abandoned building, fending off the hairy goons after they escape from the clutches of the Werewolf.

One of my concerns going into the production was whether the werewolves would be realistic enough to make Dog Soldiers an accurate horror picture.

That apprehension is allayed as soon as you have a good look at them, and I must say, they look fantastic. 

There's no CGI nonsense here; simply prominent men in big fuzzy clothes, but the wolves have an indefinable charm. 

They don't always appear or feel like suits-wearing males. They seem to act their movements occasionally, but only in long shots.

It's wolves disguised as humans. They even sound amazing, especially the yelps of pain after being shot. 

It's also at this moment that you grasp the film's actual direction. Dog Soldiers was supposed to be a true horror film, or at least that was my expectation. 

Instead, dog Troops was supposed to be a film about soldiers terrified of simple killing machines—Private Ryan's traumatic experience of only killing one opponent.

The further the film progresses, the less severe the issue and its enemies are treated. They take everything in stride, and weapons are drawn, gum chewing and sarcastically mocking the opponent. Saddam Hussein would be cooked if these soldiers were sent to Iraq.

Pertwee, the most outstanding actor, appears only briefly in the middle of the picture for some inexplicable reason. 

I suppose natural acting' isn't required in this picture because it isn't severe. But nonetheless, it was a squandering of talent.

Unfortunately, when Dog Soldiers need to go for the kill, we get legendary levels of 'quipping in the face of death.' 

Although this isn't an Evil Dead comedy, some of the last phrases must be heard to be believed. So, Arnie, take a bite out of your heart.

Without question, Dog Soldiers is a great movie. It's a lot of fun, to be sure. It features a lot of positive attributes that make it a good choice. 

Unfortunately, it's just not the movie I was anticipating. Despite this, I think that Dog Soldiers will grow on me, just like fur.

The Lost Boys

 

The Lost Boys 

The Lost Boys is a classic 80s vampire movie.

Director Joel Schumacher

Writer Janice Fischer

Cast

Jason Patric - Michael Emerson

Corey Haim - Sam Emerson

Kiefer Sutherland - David

Corey Feldman - Edgar Frog

Jamison Newlander - Alan Frog

Dianne Wiest - Lucy Emerson

Brooke McCarter - Paul

Jami Gertz - Star

Edward Herrmann - Max

Barnard Hughes - Grandpa

Warner Bros, Running time 97 minutes.

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A mother (Dianne Wiest) and her two sons move to Santa Clara. The older brother Michael (Jason Patric) becomes fascinated with a girl who hangs out with some mysterious bikers.

This film may be getting on in years now. However, it's still very entertaining. It has a unique style and charm. There are some perfect comical and memorable moments. 

This movie is behind and has influenced and set the standard for many recent vampire films.

The Lost Boys' visuals perfectly capture the 80s feel and offer nostalgic value. 

It captures the best elements of the decade very well, glamorizing the 80s. Most of the characters are likable with solid acting and dialog. 

Kiefer Sutherland is brilliant and dominates all the scenes with his charismatic performance; the story is straightforward to follow because of the charm and feel of the movie. 

It keeps you very immersed and entertained.

The Lost Boys takes a more comic approach than horror and gore. Nevertheless, some moments create tension and uncertainty, helped by the unique and slightly creepy atmosphere, which makes this very enjoyable. 

It's certainly worth a repeat watch or two.

Review:

Even though The Lost Boys isn't a fantastic film (it's excellent far more often than terrible), it's good enough to warrant the entire movie.

This trait is critical for several reasons. It's the first picture to star The Two Coreys, teenagers Corey Feldman and Corey Haim.

Since people did not care in the 1980s, they enjoyed a stellar career together. It's a strong contender for director Joel Schumacher's best film. 

So there are two causes, both of which are rather bad. But The Lost Boys don't have to be after. 

It's candy, in which a group of teenyboppers banded together under the direction of the guy whose previous film was the seminal '80s adolescent film St. Elmo's Fire. 

With vampires, to be precise.

It was produced when vampires were still attractive but animalistic murderers and monsters, rather than brooding romantic heroes, if nothing else. 

Those were the days in my life that I'd never forget. 

On the other hand, vampires are more of a side dish in The Lost Boys. As the St. Elmo's Fire/teen idol pedigree implies, it is more of a teenage rebellion melodrama that American International Pictures mint on in the 1950s and 1960s. 

Because vampires weren't popular back then, they made do with a werewolf.  

Vampires are metaphors for teenage hedonism, lack of self-control, and the profound inability to plan for the future. 

That is a necessary and constant part of being in your late teens and enjoying yourself - and yes, vampires are almost always metaphors for something or other. 

Still, it's pronounced and even strident in this case, and this isn't anything I've noticed myself. Sleep all day, says the slogan on the movie poster.

All night long, party! Never allow yourself to get old. It is impossible to die. But being a vampire is a blast. 

Aside from that, the title is a direct allusion to Peter Pan, so it's not like Schumacher or any of the three credited writers were attempting to conceal anything.

For the cast, David (Kiefer Sutherland) plays Peter Pan in this version, an adrenaline addict with a bad blond dye job. Wendy Darling is Michael (Jason Patric). 

She has just moved to Santa Carla, California, with his newly divorced mother, Lucy (Dianne Wiest), and younger brother Sam (Corey Haim).

The lingering scene of the loss of sexual innocence, which can be held to be part of Peter Pan's theme, is handled by Star Jami Gertz. 

She is a young woman that Michael spots walking down the boardwalk one night, who appears to give him the go-ahead to follow her for flirting and potential making-out. 

Still, when he catches up with her, she seems to be David's girl and part of his gang of thrill-seekers, including Paul (Brooke McCarter) (Alex Winter).

Michael almost unconsciously joins this group, drinking a somewhat ceremonial bottle of "wine" that has unusual effects on his head and body. 

Such as rendering it partly transparent in a mirror and altering his sleep cycle such that he only wakes up at nightfall and can't bear sunlight on his eyes.

Sam, who has been primed by local comic book nerds and brothers Edgar and Alan (Jamison Newlander) that there are vampires in Santa Carla, make the connection right away. 

But fighting the Dark Ones when his brother is already half-vamped is more than the boy can handle. 

So he must first persuade Michael of his curse before the two of them, helped by the Frogs, take on David and his crew.

However, phrasing it that way gives the impression that The Lost Boys does have a storyline, which it does not: for an hour, the filmmakers don't even say that David and his cronies are vampires or anything other than particularly nihilistic punks. 

And the majority of that hour is spent developing a tone and attitude. 

As Sam mucks around, Michael isn't doing anything other than falling more and deeper under David's spell while the viewer waits outside watching him do it.

The hiring of Patric and Sutherland is a godsend for the picture, albeit for entirely coincidental reasons. 

Patric is such a bland, blank slate. But, on the other hand, Sutherland has such intoxicating negative charisma he's fascinating precisely because he's so disagreeable. 

Their relationship has the dangerous, predatory charge that the screenplay keeps implying without ever explicitly stating it until the third act begins. 

Having such a wet noodle as our protagonist also makes it easier for the spectator to overlook him and therefore slip into his role. 

He allowed David's seduction of Michael to double as a seduction of ourselves.

From my understanding, Joel Schumacher has never been accepted as a queer director, and he shouldn't be. 

There's not much in his films that can withstand that scrutiny. However, The Lost Boys has a considerable, though not startling, a homoerotic charge that stems from Sutherland's sharkish. 

Unwelcome overtures towards the mortal kid, Star, who is supposed to be the target of Michael's erotic interest, hardly make an impression. 

This is not incidental to the film's success; as a vampire film, a later-day juvenile delinquent shocker, an '80s adolescent lifestyle dream. 

And pretty much any other register that we're likely to care about. The attraction between Michael and David is critical to its success.

On the surface, calling it a gay vampire picture would be absurd. However, while Schumacher isn't beyond sexualizing all of his young male stars, I don't believe he's doing it on purpose or methodically. 

And not all of the homoeroticism works: there's the classic case of Sam's beefcake pin-up picture of Rob Lowe, strangely hanging right there where no one ever remarks on it. 

I have no problems with films that portray young kids as homosexual. Still, movies depicting someone romantically attracted to Rob Lowe give me the creeps. 

Whatever the case may be, it's tough not to wonder what was going in Schumacher's mind when he authorized that particular set design.

And it's not the only thing he tries that fails, aside from allowing Feldman to get away with that terrible accent. 

With no fewer than three functionally identical helicopter shots sweeping along the ocean and pulling up to show the Santa Carla boardwalk. 

A photo that was already tired in 1987 and gets a lot more tired before this movie finishes. 

He fumbles the final act when Michael and Sam barricade themselves in the house to fend off David. However, a Schumacher picture that has some terrible judgments is seldom disturbing.

Meanwhile, that it contains such compelling character relationships is startling as heck. 

The filmmaker effectively manages the transitions from very light horror, humor, adolescent romance, and action. As he does, proof of a sure hand that I haven't seen in his oeuvre.

Overall, this is just a frothy teen film, edgy enough to depict subcultures and violence to seem more cutting-edge than condescending. 

Just free enough with jokes that it's safe for non-horror fans to come in despite a significant amount of blood for its presumed target audience. 

But then, teen films weren't half as sanitary and washed-out as now. Moreover, the nervy sexual undertone to the whole thing distinguishes it from most movies in the same category from the same era. 

Yet, it's such a minor detail in the grand picture of the film.

Still, it's brief, and it's not nearly as ridiculous as "Peter Pan with vampires." Moreover, the concluding line is excellent, as I previously noted. 

I hesitate to contact this anything besides well-made rubbish, but that's precisely what it is, which is well-made rubbish. 

It is a breezy, lighthearted adolescent genre film that is pleasant without being brutal and has aged better than most of the other movies of its kind in the 1980s.

I can't say it's a timeless classic or a must-see for everyone, but I've enjoyed it every time I've seen it, so that should be enough.

 The younger brother Sam (Corey Haim) meets some strange boys that claim to be Vampire hunters.