Stanley Kubrick
626 connections found
Filmography
The Shining 1980 
The Killing 1956 
2001: A Space Odyssey 1968 
A Clockwork Orange 1971 
Eyes Wide Shut 1999 
Full Metal Jacket 1987 
Lolita 1962 
Spartacus 1960 
Paths of Glory 1957 
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb 1964 
Killer's Kiss 1955 
Barry Lyndon 1975 
Fear and Desire 1953 
Day of the Fight 1951 View:
Connections, in both directions
Fargeat pays homage to a bathroom from Stanley Kubrick’s The Shining, and the general vibe of her film suggests a meeting of Dr. Strangelove’s humor and the New French Extremity movement’s brutality.
Numerous elements reminiscent of Stanley Kubrick's The Shining appear on-screen, from patterned carpets and red bathroom walls, all the way to specific shots, but these obvious callbacks serve little thematic purpose beyond recognition.
Fargeat nods to Stanley Kubrick in these early scenes: the blood-red corridor in the TV studio is straight out of The Shining and an omen of oncoming carnage.
She draws heavily on the hallucinatory moment in “The Shining” where Jack Torrance embraces a young woman in a bathtub, only to see her transformed into a cackling old crone. Beyond that, Fargeat‘s images recall the exploding-beast-with-a-writhing-face in John Carpenter’s “The Thing,” the bloodbath prom of “Carrie,” and the addiction-turned-dread of “Requiem for a Dream.”
There are no carriages turning into pumpkins, but a lot of superb horror homages: “Carrie” (1976), “The Shining” (1980), “Doctor Sleep” (2019), “The Brood” (1979) and even “Tar” (2022).
Or, as Fargeat says, a mashup of Robert Zemeckis’ “Death Becomes Her,” David Cronenberg’s “The Fly,” Stanley Kubrick’s “The Shining” and Jane Fonda’s workout videos.
Jodorowsky's Dune (2013)
Directed by Frank Pavich
influenced by 2001: A Space Odyssey (1968), The Shining (1980)
Visuals
On the basis of his work on the low-budget quasi-student film "Dark Star," future "Alien" writer Dan O'Bannon was hired to create the special effects, after Jodorowksy failed to detect any sympathetic vibes in a meeting with the industry's reigning FX master at the time, Douglas Trumbull ("2001: A Space Odyssey"), whom the filmmaker dismisses as more a "technician" than a fellow truth-seeker.
And second, that in the decade from the late 1960s through the mid-'70s, filmmakers often hatched extreme, unique, original visions — among them Stanley Kubrick's 2001: A Space Odyssey, Jean-Luc Godard's Weekend, Haskell Wexler's Medium Cool, Dennis Hopper's The Last Movie, Dusan Makavejev's W.R.: Mysteries of the Organism, Bernardo Bertolucci's Last Tango in Paris, Werner Herzog's Aguirre the Wrath of God and, we might say, Gerard Damiano's art-porno Devil in Miss Jones.
For special effects, Jodorowsky brought aboard Dark Star’s Dan O’Bannon, rejecting 2001: A Space Odyssey whiz Douglas Trumbull as insufficiently spiritual.
Dune was to be a very European cross between 2001: A Space Odyssey and the rollicking, speedy visuals of the yet-to-be-made Star Wars.
Rejecting special-effects wizard Douglas Trumbull (2001: A Space Odyssey) as being too greedy and arrogant, he drafted Dan O’Bannon, sci-fi novel artist Chris Foss and then-unknown H.R. Giger to design the film’s look.
He rejected Douglas Trumbull, who, after 2001: A Space Odyssey, was considered the most obvious choice for the effects Jodorowsky was envisioning, because he did not have the kind of spiritual connection to the work that Jodorowsky expected his team to have.
The Tree of Life (2011)
Directed by Terrence Malick
influenced by 2001: A Space Odyssey (1968)
Themes Visuals
Advance whispers comparing The Tree of Life to Stanley Kubrick’s 2001: A Space Odyssey prove to be entirely apt.
Of course, the birth-of-the-universe scenes evoke the chilly grandeur of 2001: A Space Odyssey.
In scenes reminiscent of Kubrick's "2001: A Space Odyssey," Malick sets a soaring soundtrack to swirling images of the cosmos, the formation of the solar system, the cooling of the earth, the genesis of life from the primordial ooze and the development of nature throughout the eons, complete with dinosaurs.
He inserts spaced-out planet-hopping and trippy asides that strongly resemble Stanley Kubrick's "2001: A Space Odyssey" and Gaspar Noe's more recent "Enter the Void."
At least in that regard, the film's comparisons to 2001: A Space Odyssey — which Malick courts throughout — could wind up having merit.
In an elaborate special effects sequence that draws obvious and valid comparisons to Kubrick´s "2001: A Space Odyssey" (Douglas Trumbull provided visual effects for both films, working here along with Dan Glass of "Matrix Reloaded"), nebulae expand, galaxies race away from each other, the Earth forms, volcanoes erupt, the planet cools to a point where multi-cellular life emerges, thrives, and then almost be wiped out by a meteor strike.
Bronson (2009)
Directed by Nicolas Winding Refn
influenced by A Clockwork Orange (1971), Barry Lyndon (1975), The Shining (1980), Eyes Wide Shut (1999)
Themes Visuals
At its best, Bronson is briefly capable of recalling the likes of A Clockwork Orange and Fight Club .
The director clearly has boned up on his source material, primarily Kubrick’s “A Clockwork Orange” and, in a brothel sequence, David Lynch.
There are times during Bronson when it’s unclear what Refn is going for, and times when the movie seems like a derivative, extra-pretentious version of A Clockwork Orange.
(It's a second cousin to A Clockwork Orange .)
Refn gives his film a larky tone that often recalls "A Clockwork Orange" as Hardy flips back and forth from addressing the camera, often made up and from a stage, and acting out scenes from Peterson's life.
The combination of horrific violence, soaring music, and chilly stylistic precision that makes the whole thing feel like an experiment can only naturally call to mind A Clockwork Orange , which is in all ways a much better film.
There's a comic perversity that recalls "Barry Lyndon" but it's not just the dramatics, it's the style as well; the wide lens-ed shots, the natural lighting and the obsessively delivered period details Kubrick was known for are all there.
The cinematography by Robbie Ryan beautifully emulates the look of classics like “Barry Lyndon,” bathing moments in Gothic candlelight or tracking through green forests where lovers slap and play.
Set in the court of Queen Anne during the early 1700s, with jaunty dollops of classical music playing in ironic counterpart to all the low-minded chicanery, the movie is “Barry Lyndon” meets “Dangerous Liaisons” meets “All About Eve,” with blood flourishes lifted from Peter Greenaway.
Though its stunning, candlelit interiors and setting invite comparisons to “Barry Lyndon,” “The Favourite” is more akin to a film like “Jackie Brown” for the way it represents both an expansion of and slight departure from its director’s established sensibility.
The Favourite, a combination of All About Eve and Barry Lyndon, begins in the court of Queen Anne ( Olivia Colman ).
Unlike the similarly set Barry Lyndon or Dangerous Liaisons, which both had strong female characters toppled by the whims of strutting cocks, Lanthimos’s latest makes the men extraneous, building a potent hothouse atmosphere that swirls with secret desires.
Solaris (2002)
Directed by Steven Soderbergh
influenced by 2001: A Space Odyssey (1968), The Shining (1980)
Visuals Themes Plot
Perhaps even more than Tarkovsky's film, Soderbergh's feels like a purely formal exercise, a visual and philosophical voyage (in the obvious vein of Kubrick's "2001: A Space Odyssey" ) that begins and ends at the same point, our own planet, which turns out to be no more "real," no less rich and strange, than Solaris itself.
The movie bears a stronger resemblance to 2001: A Space Odyssey than to Star Wars , with an emphasis on ideas over action.
Solaris bears a closer resemblance to 2001: A Space Odyssey than it does to Star Wars, Episode II: Attack of the Clones.
The film it most resembles is Kubrick's masterful 2001: A Space Odyssey, both in its majestic, sweeping vision of a spaceship-bound catastrophe and its slow, measured story pacing.
This idea of reanimating the dead takes on metaphorical as well as literal shape, in part because Soderbergh appears to be reviving the sort of epic, thought-provoking science fiction exemplified by Kubrick's 2001: A Space Odyssey (1968).
The look of the film is derivative of the sci-fi classic "2001: A Space Odyssey" (without HAL) and "The Shining" with its brightly metallic, otherworldly sets and long, quiet takes of the actors looking thoughtful or distressed.
Room 237 (2012)
Directed by Rodney Ascher
influenced by The Shining (1980), Eyes Wide Shut (1999)
Themes
There was even a 2012 documentary, Room 237 , given over to several fan theories about just what the almighty fuck was going on, springing from the theory that as fussy and controlling a director as Kubrick must have peppered the film's structure and mise en scène with clues to the "solution".
"The Shining" has earned a feverish following over the years, the kind that has elicited so many theories and personal readings into Stanley Kubrick's underlying themes and subliminal messaging that it has spawned its own movie, a boundlessly fascinating 2012 documentary from director Rodney Ascher called "Room 237."
Some see The Shining as a damning critique of western US expansion and the subsequent extermination of Native Americans, while some regard it as a Holocaust allegory.
On the surface, Rodney Ascher 's documentary exhibits the theories a few obsessive fans have put forward to reveal what they think Stanley Kubrick 's " The Shining " is really about.
A third unseen theorist, filmmaker and conspiracy guru Jay Weidner, takes off in an opposite direction, arguing that various details in "The Shining" indicate, slyly, Kubrick's involvement in faking the alleged news footage of the Apollo moon landings.
It starts off with a visual trick: In a digitally modified clip from Kubrick's final film, " Eyes Wide Shut " (1999), Dr. Bill Harford ( Tom Cruise ) stands outside the Sonata Cafe in Greenwich Village, which is actually a set at Pinewood Studios near London (which is the source of a little in-joke: The location is identified as "EUROPE").
McCarthy has clearly been influenced by “The Shining,” “The Innocents” and an underseen 2007 gem called “1408” with John Cusack as another writer with bad luck at picking hotels.
…his aim was to put his own spin on the classic "haunted hotel" trope like "The Shining," "1408," and "The Innkeepers" before it.
…the shadows of The Shining loom large over the hotel and its corridors…
En este sentido, Hokum dialoga tanto con el terror clásico de casas encantadas como con referentes más modernos como The Shining, pero sin caer en la cita vacía.
…reminiscent of Stephen King’s work (“1432,” “The Shining”)…
The tonal comparison that kept coming to mind is The Shining by way of Wes Anderson.
But because the marketing campaign has been so clever and so ubiquitous, you may discover that you’ve already seen a fair amount of the movie’s inspired moments, such as the “2001: A Space Odyssey” homage and Ken’s self-pitying ‘80s power ballad.
The film opens with a homage to Stanley Kubrick’s 2001: A Space Odyssey .
It opens, of course , with an homage to Stanley Kubrick’s “2001: A Space Odyssey.”
That 2001: A Space Odyssey reference from the first teaser trailer is no less amusing in the film itself, when it introduces the viewer to a monolithic version of the toy, before thrusting us into the technicolor world of Barbieland.
With Helen Mirren providing the narration (including a fourth-wall-breaking aside midway through the film that kills), “Barbie” begins with a prologue proving there’s still some original humor to be mined from paying homage to “2001: A Space Odyssey” as we see little girls reacting with great, um, enthusiasm to the arrival of Barbie, who pretty much breaks the mold when it comes to dolls.
Barbie begins with a brilliant scene (also the film’s first teaser) that illustrates the arrival of the Barbie doll as akin to Stanley Kubrick’s groundbreaking science fiction epic, 2001: A Space Odyssey .
Ad Astra (2019)
Directed by James Gray
influenced by 2001: A Space Odyssey (1968)
Themes Visuals Plot
Deliberate, downbeat, vast in scope and theme but emotionally intimate, it evokes — at times overtly — the likes of 2001: A Space Odyssey , Solaris , Contact and Arrival .
A medical room, with its white equipment and orange easy chairs, harks back to the stylised 1960s vibe in 2001: A Space Odyssey .
One can sense an attempt by filmmaker James Gray to tap into the vein mined by Stanley Kubrick in his classic 2001: A Space Odyssey.
The influence of iconic science-fiction films like Andrei Tarkovsky’s Solaris and Stanley Kubrick’s 2001: A Space Odyssey are evident from the outset with the narrative following a path akin to Francis Ford Coppola’s Apocalypse Now .
With Ad Astra he has ventured into outer space, fully aware of the pitfalls: being compared to Stanley Kubrick’s 2001: A Space Odyssey or, more recently, Alfonso Cuarón’s Gravity.
Roy’s journey to Neptune involves stopping at a series of manned way stations — first on the moon, then Mars — that echo the expository sections of “2001: A Space Odyssey.”
First Man (2018)
Directed by Damien Chazelle
influenced by 2001: A Space Odyssey (1968)
Visuals Themes
Despite obvious nods to Kaufman and Stanley Kubrick (2001: A Space Odyssey), what he arrives at is plodding and dramatically opaque.
The moon landing itself, and the other space sequences, don't really look like space movies of the past—you can see Chazelle going to great lengths not to actively lift shots from 2001: A Space Odyssey , Gravity or The Right Stuff .
The film is far more Tree of Life than Apollo 13, and there are even shades of Kubrick’s 2001: A Space Odyssey—dwelling on the existential and philosophical nature of space flight, eyes gazing upward at the galaxies behind the glass domes of space helmets.
He complements the too-big-to-comprehend shots of space with a classy gusto akin to 2001: A Space Odyssey, with sumptuous, smooth symphonies further illustrating the wonder in those moments.
What we have never gotten, that I can think of, is a movie about a real or fictional space mission that's as committed as First Man is to creating an extraordinary subjectivity, a you-are-there-ness that captures all the tension and terror of those three flights through a combination of screaming fast editing by Tom Cross, unnervingly close shots of faces, often just Armstrong's determined, wide eyes (superficially and certainly not by accident recalling 2001: A Space Odyssey ), and Justin Horwitz's terrific score, which hammers out in minimalist rage, just about guaranteeing your heart rate is going to spike from listening to it, whatever else happens.
There are certain sequences where you’re reminded of the VAST expanse and beauty of space (agoraphobes beware) that, at times, feel very 2001: A Space Odyssey -inspired.
Interstellar (2014)
Directed by Christopher Nolan
influenced by 2001: A Space Odyssey (1968)
Visuals Themes
His images are arresting and original — but with echoes of "Inception" and "2001: A Space Odyssey" (the movie to which "Interstellar" will inevitably be compared).
In a sly bit of homage, “Interstellar” references not only “2001: A Space Odyssey” but the sequel, “2010.”
Here is a film that provides plenty of 70mm action (cinematographer Hoyte van Hoytema shot the whole thing on film with IMAX cameras he calls “the world’s heaviest Go-Pros”), as well as references both obvious and veiled to such influential sci-fi and/or science touchstones as 2001: A Space Odyssey , Close Encounters of the Third Kind , The Right Stuff and the best speculative fiction of to-the-stars maestro Robert A. Heinlein.
One of the most important settings from the film looks and feels like a shelved concept (wink wink) from Inception , practically a dream sequence but certainly inspired by Stanley Kubick’s 2001: A Space Odyssey ; that film seems to be a blueprint for this movie, substituting similar visuals while even the robots resemble one-by-three-by-nine obelisks.
This is Nolan’s unabashed tribute to 2001: A Space Odyssey, the first movie he ever saw at the age of 8 and the one that made him decide to be a filmmaker (there are homages to that earlier film everywhere).
There is sincerity in the homage paid by its writer-director, Christopher Nolan, to two masterpieces of science-fiction cinema, Stanley Kubrick’s 2001: a Space Odyssey and Steven Spielberg’s Close Encounters of the Third Kind.
Gravity (2013)
Directed by Alfonso Cuarón
influenced by 2001: A Space Odyssey (1968), Full Metal Jacket (1987), A Clockwork Orange (1971)
Themes Visuals
It's had inevitable comparisons to Kubrick's 2001: A Space Odyssey.
Every scene aspires to be the “open the pod bay door, HAL” sequence in 2001: A Space Odyssey, as the scientists struggle to stay tethered to each other and to board what remains of their vessels.
Until now space on film, with the exception of 2001: A Space Odyssey, has seemed strangely grounded but here, thanks to the craft employed in capturing its physical reality, it becomes a character in its own right.
This enthralling tale of survival in space will open up young audiences' eyes to the excitement of out-of-this-world exploration – and make older audiences remember the wonder they felt at "2001: A Space Odyssey."
The greatest artistic debt, of course, is owed to Stanley Kubrick's "2001: A Space Odyssey," which dared to use silence, serenity and space—screen space as well as space space—as never before.
All too many extraterrestrial spectacles, from 2001: A Space Odyssey downward, have sought to explain the mysteries of "up there" using spiritual metaphors.
Despite the aural nod to 2001: A Space Odyssey and a shot that recalls Solaris, Europa Report has more in common with Shane Carruth’s Primer in terms of tone and scale.
The silence and solitude of space bring to mind Duncan Jones’ brilliant “Moon,” and there is a brief, explicit and funny reference to “2001: A Space Odyssey.”
(Film buffs will appreciate a brief musical homage to Stanley Kubrick’s 2001: A Space Odyssey.)
The filmmaker tips his hat to "2001: A Space Odyssey" - which depicted a voyage to the same neck of the solar system - with some visual nods and a few seconds of "The Blue Danube" waltz.
Gelatt’s script is a skillful blend of realistic sci-fi procedural and elements of mystery, building suspense while scratching an itch for those who worship the elegance of “2001: A Space Odyssey,” which is directly referenced.
The sense of immersion in the ship’s mundane rhythms isn’t the only passing reminder of “2001: A Space Odyssey”; listen closely for a quick snippet of “The Blue Danube” in an early scene.
Prometheus (2012)
Directed by Ridley Scott
influenced by 2001: A Space Odyssey (1968)
Visuals Themes Characters
As always, Fassbender delivers an assured and subtle performance of superb control and physical expressiveness, but the fact that his references are made so explicit is of a piece with “Prometheus’s” derivative style, which nods to everything from “2001: A Space Odyssey” to “Star Trek” as Shaw and her crew explore a darkly forbidding planet.
Prometheus certainly begins differently to the Alien films with a sequence on the Engineers’ home planet that evokes the climatic journey to the alien planet in 2001: A Space Odyssey , with sweeping shots of landscapes that looks similar to that of Earth, but are also otherworldly.
After a prologue that recalls "2001: A Space Odyssey" as much as anything, the film begins in 2089, with scientists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) finding cave drawings that seem to confirm discoveries in other places around the world: Beings from space have visited Earth and are inviting us to visit them.
The movie’s Big Questions hark back to 2001: A Space Odyssey and serve up for food for thought when they’re not bludgeoning you over the head.
His eerily calm, precise demeanor also is reminiscent of the HAL 9000 computer program in "2001: A Space Odyssey," and the pop-culture influences that shape David's habits and speech are a clever celebration of the power of classic cinema in general.
For one thing, in 2093, they're still watching Lawrence of Arabia , or at least androids are, specifically Michael Fassbender's David (a nod to 2001: A Space Odyssey , which didn't monkey around with fearful concessions to its audience); amusingly, David takes style cues (and conquest assuagement?) from Peter O'Toole.
Moon (2009)
Directed by Duncan Jones
influenced by 2001: A Space Odyssey (1968), The Shining (1980)
Themes Characters Visuals Plot
Not coincidentally, at least as regards Moon’s milieu, it’s also the era of philosophically serious science-fiction films like 2001: A Space Odyssey , Silent Running and Solaris, the influence of which is consciously at work in Moon.
Spacey's voice and inflections are perfect, and clearly modeled on HAL 9000 in "2001: A Space Odyssey," but co-writer and director Duncan Jones has added a nice touch: a smiley face whose expressions change depending on what information Gerty is passing along.
He acknowledges his influences, which are primarily 2001: A Space Odyssey, Silent Running, Outland and Alien.
Any cinematic space odyssey of the past 40 years surely owes a debt to Kubrick's 2001: A Space Odyssey; Moon's most obvious debt is the strategic use of a computer that has a cozy name (Gerty to 2001's HAL) and maybe homicidal tendencies.
A refreshingly intelligent and surprisingly polished indie sci-fi film, "Moon" owes equal debts to "The Twilight Zone," "2001: A Space Odyssey" and Isaac Asimov's three rules of robotics, but that doesn't mean it's overly derivative.
Jones draws on Stanley Kubrick's 2001: A Space Odyssey (1968) by having Sam Bell (Sam Rockwell) run on a treadmill in the stark whiteness of "Mining Base Sarang."
Annihilation (2018)
Directed by Alex Garland
influenced by 2001: A Space Odyssey (1968)
Themes Visuals Plot
Reach” trilogy, is a riveting and often unnerving combination of head trip sci-?fi on the order of 2001: A Space Odyssey and Stalker and high-?end…
And wait until you see the visually audacious, eye-popping, finale which unlike, say "2001: A Space Odyssey," a film Garland has clearly been inspired by, doesn't have the kind of heft it thinks it does.
Making significant (and justifiable) departures from the novel, the film resembles a cross between the jungle quest of Apocalypse Now and the interstellar puzzle of 2001: A Space Odyssey.
Over its 115-minute journey, “Annihilation” steers a course from a brooding “Arrival” science fiction vibe into a kind of tense sci-fi/horror hybrid like Ridley Scott’s “Alien,” then finally to a kind of heady, hardcore science fiction of the “2001: A Space Odyssey” Stanley Kubrick variety.
This is legitimately unlike anything we’ve seen before in science fiction films, except maybe the end of 2001: A Space Odyssey .
We have a character who pukes blood (one of the franchise’s signature gores), a bloodied protagonist (Lily Sullivan’s Beth) and even a homage to one of the iconic scenes from Stanley Kubrick’s The Shining (1980).
At the end of “Evil Dead Rise,” Lee Cronin bathed every inch of the frame like Stanley Kubrick did in “The Shining,” he (probably) paid homage to Neill Blomkamp’s “Zygote,” he tipped his hat to the great Sam Raimi, and it felt like some kind of cinematic religious experience.
There’s also more than a handful of references to Stanley Kubrick’s The Shining, such as the elevator and the bottom-to-top perspective the film uses as Beth holds the door when Ellie is outside of the apartment, which are unexpected but nonetheless cool to spot.
Cronin leans hard into the anonymity of the setup, setting his Evil Dead in a dilapidated apartment high-rise that suggests a haunted house attraction at a theme park, or a wax museum variant of the Overlook from Stanley Kubrick’s The Shining , which is quoted again late in the film in a much more overt way.
One of them, Kubrick's classic The Shining, gets bluntly referenced towards the end.
Cronin also has sequences that appear to reference everything from The Shining and Aliens to The Thing (I even thought there was a little bit from The Last of Us: Part II in this one).
“X” is threaded with blithe references to key films — a car in a swamp like the one in “Psycho,” an ax through a door like the one that kicks off Jack Nicholson’s rampage in “The Shining,” an alligator borrowed from “Alligator” (ingeniously shot from high above in one jittery sequence), an ending that nods to the premise of Paul Schrader’s “Hardcore” (which came out in 1979).
While X points most overtly to the slasher classic The Texas Chain Saw Massacre – along with sly references to everything from The Shining to Paul Schrader’s Hardcore – what West offers up is more winking tribute than carbon copy.
“The Texas Chainsaw Massacre” is the most obvious touchstone here, but there are references throughout to films like “Psycho” and “The Shining.”
With echoes of everything from “The Shining” to “Psycho” to “Boogie Nights” to “Alligator” to “Hardcore” to infamous porn films such as “Andy Warhol’s Blue Movie” and “Debbie Does Dallas,” this is an homage but also a strikingly original and cheerfully grotesque work, filled with dark humor, relatively complex subtext and gung-ho, all-in performances from the talented ensemble cast.
There’s a fine line between a compelling homage and a tedious exercise in stylistic replication, and West achieves the former, even as he nods to Psycho (1960) and The Shining (1980).
With homages to the stair scene in Tobe Hopper’s 1974 classic and Stanley Kubrick’s The Shining, Rockett’s lens honors horror past with his palette.
Doctor Sleep (2019)
Directed by Mike Flanagan
influenced by The Shining (1980), Paths of Glory (1957), Barry Lyndon (1975)
Plot
Director Mike Flanagan ( Gerard’s Game ) does an excellent job in paying homage to, and continuing the story of The Shining , in both its literary and film versions.
Doctor Sleep, the nearly 40-years-later sequel to The Shining that arrives this week, is instead built around another aspect of that film that I never considered nearly as compelling—the "shining" of the title, possessed by the young Danny Torrance, which is a combination of psychic powers and the ability to communicate telepathically.
It’s not news to suggest that Stanley Kubrick’s horror masterpiece The Shining (1980) does a questionable job adapting Stephen King‘s equally brilliant novel (1977) to the screen.
You’d think a sequel to one of the greatest psychological horror films of all time, the 1980 Kubrick classic “The Shining,” would be a disastrous, pointless mess.
It takes some serious nerve to direct a sequel to Kubrick's The Shining AKA One Of The Greatest Films Of All Time.
The Shining is pretty high up on the list of iconic movies that don’t need a sequel, remake, or reboot.