THE SHINING

Part of Music City Mondays

For the Torrance family, the winter caretaker job at the old Overlook Hotel is a chance to get themselves back on track, and work through past issues and traumas. But they’ll encounter so much more in its ancient twisting halls. Welcome to the Overlook Hotel — the intersection of the minds of Stanley Kubrick and Stephen King. A space where nothing and no one can be completely trusted — and where you retrace your steps back to where you came from, only to find yourself deeper in the grasp of unspeakable horror. With a suspenseful score by Wendy Carlos and Rachel Elkind and additional pieces by masterful modernists Krzysztof Penderecki, Béla Bartók, and György Ligeti.

See also: 3 WOMEN (Thu, Aug 1 | Sun, Aug 4)

“If Stanley Kubrick’s THE SHINING was a twist on the centuries-old Gothic horror genre, there was no one better suited to play a modern Gothic heroine than Shelley Duvall… Her work in THE SHINING has grown in critical esteem in recent years; today it can feel as if detractors simply weren’t expecting how unsettling it would be to witness her performance of abject terror.” —Alissa Wilkinson, New York Times 

“Kubrick brings a special dimension to THE SHINING, a breadth and extravagance no recent film has rivaled. His film becomes as remarkable for its scale as for the suspense it generates, and all the more fascinating for setting grand aspirations beside petty errors. If Kubrick's things that go bump in the night have a way of bumping into each other, so what? The richness of his work is something rare.” —Janet Maslin, New York Times (Jun 8, 1980)

“Like a lot of Kubrick’s work…THE SHINING was greeted first with bafflement and hostility before people started to come around on it. The hostility has faded as the film has gotten more widely recognized as a horror staple…but the bafflement is baked into the pie — it’s what makes the film so primally terrifying and unsettling to experience, and what teases the brain into trying to solve it.” —Scott Tobias, The Guardian