🎦 The Shining full movie HD download (Stanley Kubrick) - Drama, Thriller, Mystery, Horror. 🎬
The Shining
Drama, Thriller, Mystery, Horror
IMDB rating:
Stanley Kubrick
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
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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The Funniest Comedy of 1980
I shall never, ever be able to understand the phenomenon known as Stanley Kubrick. When he was on, as with DR STRANGELOVE, he was brilliant. But when he was bad, he was awful.

I saw THE SHINING in its first release in a packed movie house in New York City. I had read and loved Stephen King's novel; I am widely read in the horror genre and do not scare easily, but that book gave me the creeps for weeks.

Well for all the people who have been raving what a masterpiece this film is, I can only tell you this. The crowd in the theatre started giggling the minute Jack Nicholson appeared on film, and by the time he chased Shelley Duvall up the stairs, the whole crowd was literally in stitches. And I was laughing right along with them. Maybe New York audiences are just jaded; I don't know.

Not that this movie does not have some scary moments. Shelley Duvall is rather good when she is away from Nicholson and it starts to dawn on her that something evil is taking over her family and her life. Unfortunately, Miss Duvall plays Wendy Torrance, a strong, intelligent, and resourceful woman in the novel, as a pathetic, whiny ninny most of the time, and by the time Nicholson had her trapped in the bathroom, I am sure plenty of us were screaming for her head. It must be said that this is not the fault of Miss Duvall, a talented and intelligent actress who according to reports fought bitterly with Kubrick over his interpretation of Wendy.

The kid talking to his finger is another idiotic and unintentionally hilarious bit of business that was not in the original novel. Why Kubrick thought this was a good idea is beyond me.

But let's get down to the real problem: Jack Nicholson. In the right role, he can be very good, though he has never been among my top ten. Jack Torrance is totally the wrong role for him; for one thing, he does not look ordinary enough. But the worst thing is that Stephen King's story was about a man being SLOWLY AND INEXORABLY driven out of his mind. Nicholson goes nuts so early in the film that there is literally nowhere for him to take the character. And Kubrick was either in awe of Nicholson, who was still riding the post-Oscar high from CUCKOO'S NEST, or he just didn't care, or he thought it was scary when it was actually funny. I don't know.

As if all this were not bad enough, the whole mess drags on for two hours and twenty-two minutes; this movie practically cries out for a pair of scissors.

Some people will feel that I have spat on an icon, I suppose, and they have that right. But Stephen King himself was not happy with this film, and when he finally got the opportunity to re-do it as a television miniseries in 1997, the results were much better. For the one thing that is missing in Kubrick's version is a heart.

Anne Rivers Siddons, in discussing her excellent horror novel THE HOUSE NEXT DOOR, writes that the thing about horror is that it smashes people and relationships. Thus the best horror stories are at bottom also very sad (Brian De Palma's CARRIE gets this; Kubrick's film does not). And whatever your feelings about the miniseries format may be, the Torrance family created in 1997 were people you could care about. Director Mick Garris understands King better than Kubrick did, and Rebecca De Mornay, in particular, redeems the Wendy character in a spectacular tour-de-force towards the end. In 1980 the Torrances were figures of fun. Rather like the barbaric Victorian custom of laughing at the lunatics in Bedlam.

Awful, awful, awful.
Another Kind of Horror
1980, the new beginning of decades in cinema. And Kubrick brought the most memorable horror of all time. I think it's not a horror after all, it's an unclassified-genre, a Kubrick's very own genre. For me, it is not scary, maybe because the cultural gap between the western and eastern. The Asian-horror, usually frightening young woman appears as ghost, is my cultural-horror. I mean, you know ghost, in every culture is different. At the one hand, if you believe in ghost or those mythical things, this movie is worth to watch, it's from Stephen King's novel itself. In the other hand, if you don't believe, don't worry, Kubrick make another alternative to enjoy this movie. Watch it as a psychological-problem-movie, with suspenseful scene in it. So, two perspective in a movie, who could believe that, but Kubrick made it true. And about its difference from the novel, I don't know if you are a novel reader or what. But, I do appreciate King as the writer, he has good sense in writing mystery-novel. I haven't read the novel though, but King as writer, had done a great job. For Kubrick, you may say, he had torture the masterpiece of writing. So, King is right to defend his work of art. But Kubrick also had a fantastic sense of cinematography, that's why it's okay for him to change the story a little too far. Anyway, I adore both of them.

"The Shining", however, is pure entertainment in my opinion. It doesn't criticize the culture, society, beliefs, or anything else. A magical movie construction with little jumbled sequence and undefined evil spirit in it. It's okay for me, what audiences really seek is the intense-scene itself, not the comprehension of the symbol in movie. It gets wrong when the movie is bad and boring, but not for "The Shining" which is very genius in that very era. Kubrick doesn't add twist, just leaves the movie-mystery behind. To make the audiences keep wondering, and that's good. Nicholson did a really intimidating-acting, one of the best act from him that I've ever seen. The story itself, I mean the screenplay from the movie, is just so tremendous, though-provoking, and cold. I just can get enough claustrophobia from this film. And what's very touching is "the shining" itself, people that can shine, or has talent to communicate with spirits. The way the movie leads to point a very different way to understand such a weird-talent. You know, children, they are really plain and honest, just a tiny kick for showing new view.

Nine out of ten, I rate this movie. With small-amount of moral value, I usually don't rate movie as high as this. But the cultural- impact of this movie is remained until now. Not just in America, but reaches my country also, Indonesia. "All work and no play makes Jack adult boy" comes in my English assignment. Look, it is from the 1980's cinema and still leaves trace until now. With not so many awards, it gives so much unique pleasure. The accomplishment of great cinema-inventiveness. What a charmed feature!
The Shining
Growing up with a best friend in love with Stephen King, we made it a must to see this film. Stanley Kubrick chose to bring King's novel to life in a terrifying film that gave me chill after every scene. Movies that have a mind blowing ending or even parts that do not make any sense and then come together at the end are my absolute favorite. Stanley Kubrick was able to capture the beautiful work that made all of us scratch our heads and even today we still question and theorize. Jack Nicholson, who plays Jack, is a writer who slowly becomes possessed as he and his family live in a hotel over the winter off season. To slowly see Jack go from bad to worse with no explanation was intriguing. His wife Wendy, played by Shelley Duvall, was confused as to why her husband was changing into a psychotic man and was afraid of her and her son, Danny's, life. The true relationship between mother and son is loving and nothing can break their bond after the events at the Overlook Hotel. The macguffin within the film is room 237. No one knows what happened in their and it is never explained. The audience just knows that something important happened in room 237. Although when Jack enters the room, he sees a naked woman in a bright green bathroom that is blinding if you watch the movie in he dark. Jack then realizes he is losing it and runs from the room as he sees the young attractive woman turn to an old hag. When strange and the most confusing/scary scenes some on, Stanley Kubrick lights the room, and he shot to blind the viewer. It is to act like a new world. In the improvised line, "Here's Johnny", by Jack, It has a Wes Anderson feel to it because it is straight on and bright shot. Finally, the ending scene where it slowly zooms in on the photo of Jack in a party at the Overlook Hotel in the 20's, It only leaves the audience questioning what is going on and then makes the search as to what it was even more fun. Stanley Kubrick, Jack Nicholson and others made a great effort to bring confusion in a good way to the audience.
"A tremendous sense of Isolation"
After his greatest achievement in the sumptuous period drama Barry Lyndon, Stanley Kubrick moved on to make his statement on the horror genre. A massive shift in focus, but perhaps not such a surprise since there were elements of horror in 2001: A Space Odyssey and A Clockwork Orange.

Kubrick's greatest strength is probably in that he always followed his own muse, regardless of what was going on in cinema at any one time. Of course, he was sometimes influenced by his contemporaries, but he never followed a trend. The Shining is at once bold and innovative, yet also nostalgic and old-fashioned. In a way this mimics the story's theme of history repeating itself and the overlapping of past and present events – a typically Kubrick-esquire mixing of style and content.

The atmosphere of The Shining is created through use of space and place. Kubrick shows us two kinds of space at the Overlook Hotel. There are vast, empty spaces such as the grand hall and the gold room, generally revealed to us in slow zooms. Jack is more often shown in these rooms, and they represent his growing isolation from his family and his detachment from reality. Then there are the winding passages like the corridors and the maze, which Kubrick's camera explores with steady tracking shots. More often than not it is Wendy and Tommy whom the camera follows through these passages, and this gives us the sense of confinement and helplessness of their situation.

In terms of place, The Shining is in a way a Heart-of-Darkness style journey into hostile territory. The opening credit sequence tells us this right at the start, as we see Jack's car travelling higher and higher into the mountains, a tiny dot from the helicopter shot. The Overlook Hotel resembles its mountainous surroundings, both in shape and colour. Kubrick's construction of space and place combine to create the nightmare situation – a place which is in itself massive and spacious, but which is also a prison, cut off from the outside world.

Kubrick is perhaps best known for bucking trends, and rejecting by-the-book approaches, and The Shining does go against the horror grain in several respects. Perhaps most notable is the light. Whereas virtually every horror film prior to this had exploited the darkness, The Shining (as its title suggests) is filled with light and brightness. It's also something of a return to the early days of horror, largely favouring creepy atmospherics over slasher shocks. In fact, there is a very direct and obvious reference to DW Griffith's Broken Blossoms (not actually a horror, but it's still got the axe moment) and even Shelley Duvall's performance towards the end slips into wonderful Lillian Gish-style melodramatics.

The Shining is tightly constructed, and it certainly stands out from its contemporaries in the genre, but like many of Kubrick's films it is seriously overrated. For all its supposed sophistication some of the horror moments are terribly camp and corny – for example the old woman in the bathtub does the most ridiculous zombie lurch I've seen outside of B-horror. Those quick zooms and that snare thing on the soundtrack that accompany every shock moment are massively overused and soon become tedious. For my money the supernatural horror elements do not really work – he just doesn't get the creepiness right. It's only the real-life, psycho-killer aspects that have any impact here, and this is mainly down to the intensity of the acting performances. I'm risking flak by saying this, but maybe the film would have been better if Kubrick left out all the ghosts and just told a story about a man's journey into murderous insanity.
What is Idiocy?
The fact that this movie is even in the top 1000 movies of all time, much less the top 250. That, in fact, crosses over the line from Idiocy to pure Lunacy, or worse. Someday, this disturbing race of mutated movie goers who have been dubbed "Kubrickites" by Pentagon scientists will die off, as their numbers are already dwindling. Until then, the rest of us simply must tolerate them, and correct them when necessary.
Chilling, supernatural, in a league of it's own
I have not seen many horror films, simply because i never seemed it to be a watchable genre, then i watched misery, i thought i was scared then. But 'The Shining' took me to new levels of psychological terror.

The entire film, works together as one tense, frightening atmosphere. From the moment Jack Torrance says that his family will 'love it', the viewer is plunged into the dark and unpredictable story of madness and blood.

Kubrick uses incredible visual techniques. I find myself skipping a breath each time Danny turns a corner on his tricycle. I found myself skipping several more where Kubrick makes two twin girls seem utterly terrifying.

Enriched with colourful ideas, a closed set (used to amazing effect), fantastic acting and the most memorable madness and supernatural experience you can find in modern cinema.

This fantastic and iconic story, with startling music and fine dialogue remains one of Kubrick's finest pictures
A, um, Shining Example of the Horror Genre
What a terrific film. When you let Kubrick have his way with a story like this one, you can almost guarantee success. The book is—if possible—even scarier than the movie version because there's a frightening topiary scene and a scarier subplot that Kubrick didn't or couldn't explore. But the movie is still one of the best horror flicks ever made. I think it works so well because the Torrence family is so isolated. They are essentially beyond help once the snows come, and if you've ever traveled on mountain roads on which you may run into a forest service gate blocking the roads in the winter, you know what that isolation feels like. Go past that gate, and they may never find you. So I think that's what is effective in the original book, and Kubrick masterfully employs that theme throughout (isolation of the family from society, isolation of the family members from one another, and isolation of the individual). Between Danny on the tricycle, dead twins, bleeding hallways, a creepy dead bartender, one of the scariest still photographs ever, the decaying chick in the bathtub, Jack hacking through the bathroom door, Dick getting axed in the chest, Wendy seeing Jack's "novel," and the final scene with him frozen in the maze, the film has more than its share of scary moments. Wow.
A truly brilliant and scary film from Stanley Kubrick.

I can't praise this film long enough!

The Shining is, without doubt, one of Stanley Kubrick's undisputed masterpieces and a true classic in horror cinema. It is a film that, over the course of the years, has managed to scare the living hell out of its audiences (and still does). The film is an adaptation of Stepehen King's original novel, written in the late '70s, and although the film is not very loyal to the book, it still stands as a thing of its own.

Right from the beginning, as we contemplate the car going to the hotel from those stunning aerial shots, deeply inside us we know that something in the film, somehow, sometime is going to go wrong. As we obtain that severe warning, an almost inaudible voice gently whispers to us 'sit tight', a sense of unexpectedness invades us all, and it is that very same feeling that makes our hair stand on end throughout out the entire movie.

The plot is simple: Jack Torrance (Jack Nicholson) becomes the caretaker of the Overlook Hotel in up in the secluded mountains of Colorado. Jack, being a family man, takes his wife (Shelley Duvall) and son (Danny Lloyd) to the hotel to keep him company throughout the long, isolated nights. During their stay, strange things occur when Jack's son Danny sees gruesome images powered by a force called 'the shining' and Jack is heavily affected by this. Along with writer's block and the demons of the hotel haunting him, Jack has a complete mental breakdown and the situation takes a sinister turn for the worse.

The film, unlike many horror-oriented films nowadays, doesn't only rely on stomach-churning and gory images (which it does contain, anyway) but on the incredibly scary music based on the works of Béla Bartók and on the excellent cinematography (the Steadicam is superbly used, giving us a sense of ever-following evil), as well. The terrifying mood and atmosphere of the film is carefully and masterfully woven by Kubrick, who clearly knows how to really make a horror movie.

Jack Nicholson's powerful performance as the mad father and husband is as over the top as it is brilliant. Shelley Duvall, who plays the worrying wife who tries to help her son, is also a stand out; she shows a kind of trembling fear in many scenes and is able to display weakness and vulnerability in a very convincing way. Undoubtedly, The Shining is full of memorable moments (the elevator scene or the 'Heeeeeere's Johnny' one-liner for instance) and, simply put, it's flawlessly brilliant.

Stanley Kubrick's direction is pure excellence, giving the whole film a cold and atmospheric look, thus creating an unbearable sense of paranoia and terror. There are moments of sheer brilliance and exquisite perfection in this film; the horrifying maze chase is a perfect example. Every single shot is masterfully created and there are some genuinely scary scenes which will make you sit on the edge of your seat.

The Shining is, in my opinion, a special landmark in horror cinema which will always be regarded as one of the scariest movies in film history. Since I saw it last year, when I was 13, I have rarely been able to have a bath in my bathtub.Just in case, ya know. Overall, The Shining is incomparably the scariest film I've ever seen in my whole life (and I can tell you I've seen a great deal of horror films).

It is an unforgettable, chilling, majestic and truly, profoundly scary film crafted by an eccentric genius who wants to show that the impossible can be done. The Shining is a sublime, hauntingly intriguing and endlessly watchable film that shows Kubrick at his best.
Just a masterpiece!
Stanley Cubrick's "The Shining" is -at least for me as a movie fan- the greatest horror movie of all time and undoubtedly one of the greatest movies of all time. This movie is the result of a cooperation of two all time greats, Jack Nickolson and Stanley Cubrick, so its success is not really a big surprise. As a horror movie it brings to the table exactly what you want to see in a movie of this genre ie a chilling and horrifying atmosphere, an intriguing story and sensational performances and not the jumpscare-filled mess that the majority of today's horror movies, including the major titles, provide you more times than not. "The Shining" manages to give you the scare of your life slowly but steadily as the story and the mystery of the eerie Overlook Hotel unravels. I think that what pushes "The Shining" over the top as a movie is that it has great replay value and gives you the opportunity to research on your own about what happened and what is going on, in order to finally understand it. As a result you dive deeper into its mystery and love it even more. If you like movies that you should definitely put it in your watchlist RIGHT NOW!!!
Fact: Kubrick is better than King
It's well know that Stephen King doesn't like Stanley Kubrick's version of The Shining (so much so that he scripted an abysmal TV movie version). According to him, Kubrick didn't understand the horror genre. Well, I think Kubrick did. I think he understood it only too well. He knew that it was a genre full of conventions, cheap tricks and tired clichés. Therefore Kubrick decided to throw all that nonsense out of the window and make a film based on atmosphere rather than predictable thrills. You don't get people here jumping out of the dark time after time. You don't get worthless shocks. Kubrick's version of The Shining is an insidious film. It gets under your skin. In other words, it isn't for Pavlovian dogs that have spent a lifetime being conditioned by cretinous nonsense.

What runs deepest through The Shining is a frustration with family. Right from the beginning it's obvious that Jack isn't happy with his lot – as he's being shown around the hotel he can't help but take a sneaky look at the backsides of a couple of women. Well, can you blame him? The poor man is married to a bug-eyed, bucktoothed Olive Oil look-a-like.

Then there's Jack's quiet frustration with his son Danny. As he's driving to the hotel, he's bothered by requests for food. And then his son makes out that he's knowledgeable because he saw a programme on TV. Already he's slightly irked - he's got to spend months alone with these people; one who resembles Popeye's missus and one who talks to his finger.

So really the hotel brings out nothing that isn't already there. It merely brings everything to the surface – Jack's resentment as regards his wife, his frustration as regards his lack of writing talent and his annoyance at having a troubled son. It's kind of like he's testing his family. Are they strong enough as a unit to survive being cooped up together?

One of the underlying themes in the film seems to be television. What happens in The Shining is what happens when someone stops watching the idiot box. With it, a person can find solace in mindless programming and retreat from the strictures of family life. Without it they're faced with all their problems and all the failings of their loved ones. Even the strongest family can be brought to its knees when there's no escape from each other's company. Therefore it's quite telling, when Jack loses the plot completely, that he spouts lines from TV: "Honey, I'm home" and "Here's Johnny." Just watch some television, Jack.

But it's also the pain of writing that contributes to Jack's insanity. There's nothing quite as harrowing as an empty page. Plus there's nothing more annoying than being interrupted mid-flow. One of the best scenes in the film is when Jack tells his wife to get lost when she interrupts him. It's extremely violent in how cold Jack is towards Wendy. And because it's grounded in a reality, it's all the more effective.

Also rather unsettling is the scene where Jack talks to his son. He makes Danny sit on his lap and he proceeds to tell him how much he loves him and how he'd never hurt him. It works so well because it's so cold and because there's such an obvious lack of affection. The words are just empty platitudes. They mean absolutely nothing.

Jack's true feelings are only revealed when he gets to talk to Lloyd. It's in this scene that you realise the marriage isn't all it's cracked up to be – Wendy has never forgiven him for accidentally hurting his son. And it's also in this scene that you realise (as if you hadn't noticed earlier) that Jack is absolutely crackers. He's talking to ghosts. But they could also be figments of his imagination, for there are mirrors behind most of the ghosts he talks to. Effectively he's talking to himself. And I love this matter of fact way of dealing with the supernatural. There are no fancy tricks. Everything just seems unnaturally natural.

In fact, everything to do with the ghosts is superbly handled. The twins are spooky, Lloyd is amiable and Grady is out of his mind. And it's Grady who's probably the most chilling presence in the film. He starts off as a bumbling waiter but then quickly becomes a stone cold killer. Just the way he says 'corrected' conveys more terror than a million slasher films. And Philip Stone's performance is a million times more subtle than Nicholson's. I mean, as much as I like Jack in the film, he does chew the scenery. But Kubrick likes his over the top performances, so that's the way he wanted it.

And undoubtedly it's Kubrick's movie. He's the real star. And I love everything he brings to the film. I love his command of lighting – just look at The Gold Room scenes. I love his use of music. I love the way that he turns the Room 237 scene, one that could have been a standard 'jump' scene, into a comment on Jack's marriage – his willingness to be unfaithful. I love the way that he leaves lots of unanswered questions. I love the shots of the blood coming out of the lift. I love the helicopter shots at the start. I love the way that pages and pages of typed words are the most frightening visual in the film. I love the maze. I love the fact that you see a ghost getting a blow-job from a ghost in a bear suit… Man, I love absolutely everything about this film. It's horror for people who know that true horror isn't being stalked by a man in a mask, but being trapped alone with your family.
See Also
📹 The Shining full movie HD download 1980 - Jack Nicholson, Shelley Duvall, Danny Lloyd, Scatman Crothers, Barry Nelson, Philip Stone, Joe Turkel, Anne Jackson, Tony Burton, Lia Beldam, Billie Gibson, Barry Dennen, David Baxt, Manning Redwood, Lisa Burns - USA, UK. 📀