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Kritiken

SHINING

Stanley Kubrick USA, 1980
From the very start, the bigger images let my eye swoop off into the Rocky Mountains, the landscapes drawing me in and exerting a lot more power than they ever did on TV . . . Critics at the time complained that Jack Nicholson was too weird at the beginning, which I guess is true. It forces him to go more over the top later. But it's clearly Kubrick's intention that every scene in his horror movie should be strange and disturbing — look what he's doing with the music.
November 3, 2017
Ganzen Artikel lesen
Ferdy on Films
The darkly comic streak might be identified as Kubrick's signalling to the audience he feels himself above the genre on some level, except that, as well as coherent with the rest of his oeuvre, the humour entwines with the fervency with which Kubrick delves into this little imaginative universe he and his great team of collaborators fashioned. The atmosphere of extreme isolation and immersion in the subliminal is knitted together by the strength of Kubrick's images and his music cues.
Oktober 29, 2017
Signs and Sirens
One of Kubrick's wiliest moves may have been to suggest Torrance's lurking anger and unsatisfactory home life made him receptive to possession. The pure genius, though, lay in how _visual_ that psychological exploration was. Style, not substance, was the director's strong suit, which made him a perfect foil for King, whose themes of the supernatural lurking in the banal (and the banal in the supernatural) were often eclipsed by the breathless redundancy of his prose.
Juni 24, 2016
...The horror of THE SHINING makes manifest one subtext running through all of Kubrick's work: that humanity, for all its technical sophistication, will never fully understand its own consciousness. Why else would Kubrick devote nearly 150 takes to the same scene, as he did several times in the film's epic shooting schedule?
April 1, 2011
The director has retired even further within himself since Barry Lyndon, and his instinct for the popular nerve been buried deeper. The film itself is the blankness this time. It is its own haunted house – a rambling, rather hollow-sounding edifice in which the real spooks are not the special-effects creatures (which failed to live up to their US publicity as the scariest things ever seen) but some primal Kubrickian conceits.
November 1, 1980
The Shining is a horror movie only in the sense that all Kubrick's mature work has been horror movies—films that constitute a Swiftian vision of inscrutable cosmic order... The Stephen King origins and haunted-house conventions notwithstanding, the director is so little interested in the genre for its own sake that he hasn't even systematically subverted it so much as displaced it with a genre all its own.
Juli 1, 1980