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Late to the Party: The Shining (1980)

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Now, don’t lynch me. I know, how dare I call myself a horror fan without having seen Stanley Kubrick’s take on Stephen King’s novel The Shining?

Well, to be honest, I’ve never been impressed by Stanley Kubrick’s work, and I’ve never been a big fan of Jack Nicholson. I have read the book though, and thoroughly enjoyed Stephen King’s novel of isolation and insanity.

The Shining really isn’t just a horror movie though. It’s a piece of history and a cultural icon. No matter what you do, you can’t actually see The Shining with virgin eyes. It’s been parodied and referenced in so many other movies and television shows that even if you’ve never seen the movie itself, you still feel like you have. I mean, when you get an episode of The Simpsons based around your movie, you pretty much know you’ve made it big, even if they don’t want to use the episode’s subject by name.

Image courtesy of giphy.com

As the movie opens, I’m honestly struck by how bright and clean everything is. It starts, without introduction, with Jack Torrance, played by Jack Nicholson. The scene is innocuous enough. He’s on an interview to become the caretaker for the Overlook Hotel while they’re closed for the winter, but it serves to give us some insight into Torrance’s character, as well as a taste of the dark history of the hotel itself.

From there we have some blackboard scene changes to introduce us to Wendy Torrance, Jack’s wife, played by Shelly Duvall, and their son, Danny, played by Danny Lloyd. We also have a little introduction to Tony, which is the entity that shows Danny visions and is an aspect of his ‘shining’.

It made me chuckle that on their drive up to the Overlook, they had a conversation in the car about the Donner party.

Image courtesy of TheGuardian.com

I was expecting the hotel to have much more of the creepy vibe we’re used to with dark hallways, flapping curtains next to a closed window, that kind of thing. Instead, the entire hotel is brightly lit, with pastel colors that give the scenes a soft feel to them. Maybe that’s what made me notice Nicholson’s very hard features. All the lines on his face are very stark and his facial expressions are very emotive. I think it sets up a nice contrast which really brings out Nicholson’s portrayal of Torrance’s descent into madness.

Image courtesy of denofgeek.com

The descent itself is pretty easy. Not sleeping during the night, passing out to nightmares during the day, leading to hallucinations of a bartender, and then to a ballroom full of people where he meets a past custodian of the hotel. Torrance then becomes convinced that he has to teach his errant wife and son “a lesson”, ie. hit them both repeatedly with an ax.

As Wendy discovers her husband’s spiral into insanity, she fears for her son and for herself and locks them into her room. I think we all know the scene that comes next.

Image courtesy of fact.co.uk

Danny escapes, while Wendy gets a reprieve when Hallorann, the head chef of the Outlook during the summer, played by Scatman Crothers, returns, summoned by Danny’s ‘shining’. Hallorann then gets an ax to the chest, but delivers Wendy and Danny’s escape vehicle. But first, Danny has to escape his psychotic father in the Outlook’s hedge maze.

Like I said in the beginning, while I’d never actually seen The Shining before, there really was no way to watch it with fresh eyes, and I’m honestly a bit disappointed at that. I can certainly see why some people view it as a work of art, and you can watch documentaries like Room 237 to see how other people have analyzed it and found ways that Kubrick was expressing his opinions on Native American massacres and the like.

I’m equally a bit disappointed in how the movie turned out compared to the book. There was a lot they had to leave out due to time constraints, but still. Hallorann (the only character in the movie I really liked) had a larger role.

Likewise the Outlook itself was more of a character. The movie makes it seem more like we’re just dealing with a man going insane, rather than a building that’s thickly haunted to the point it almost has a life of its own. We do get a glimpse of the Overlook’s spirits in Wendy’s final race through the building looking for the exit, but it really feels disjointed from the rest of the movie.

Image courtesy of horrorfanzine.com

If you haven’t seen The Shining, it’s worth it. This is considered a classic for a reason and with as much as it gets referenced and parodied, it’s worth seeing and knowing why and where it’s coming from.

For more Late to the Party articles, try here.

Check back next week to see what Justin Eckert thinks of 1979’s Zombie.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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