Directed by Mike Flanagan
* *
For decades, there’s been a
war over the superior vision of The Shining – Stephen King’s original
novel vs. Stanley Kubrick’s iconic yet polarizing film adaptation. I side with
the latter. The Shining is not only is it my favorite horror film by
far, but it is one of the greatest films I’ve ever seen, and what made
Kubrick’s film so fascinating and terrifying was its complete reworking of King’s
novel into something more allegorical and elusive, rather than an air-tight
paranormal story. I walked into Doctor Sleep knowing it could not hold
up to Kubrick’s masterpiece, but the comparison can’t not be mentioned: this is
acting as both a sequel to King’s novel as well as Kubrick’s film.
Rather than being a cynical
cash-in on The Shining, Doctor Sleep is a sincere attempt at
appeasing both the Kingians and Kubrickites with a clear passion for its source
material. As admirable a move as this is, it is not a good one: the result is
mangled by a story that is overwritten to the point of disinterest from the
viewer, taking all of its substance down with it.
It is some 30 years after the
events of The Shining. Dan Torrance (Ewan MacGregor), unable to shake
the trauma from his childhood experiences, lives as a deadbeat and an
alcoholic. He hits the road to a small town to start anew, where he gets sober.
Over time, he forms a bond with young Abra (Kyleigh Curran), a psychic bond at
that – she also shines, and communicates with Dan via chalk on a blackboard.
Some years later, Abra’s communications become suddenly urgent – across the
country is a cult known as the True Knot. They are caravanning across the
States, feeding on “steam”, a sort of life essence from those that have the
Shining. When their leader, Rose the Hat (Rebecca Ferguson), discovers Abra’s
psychic meddling, she sets out to take the child down.
I won’t completely rule out
the idea of a sequel to The Shining. Considering that child abuse is one
of the many horrifying themes that can be mined from Kubrick’s film (see
Collative Learning’s terrific analyses on YouTube), coping with that trauma
into adulthood seems like the next logical step for the saga of Dan Torrance. Doctor
Sleep’s opening moments are admittedly engaging, but once the story gets
going, it becomes a muddled and convoluted mess that wants to be psychological
terror, supernatural thriller, and deeply personal human drama all at once, but
doesn’t know how to seam these tones together.
In addition to the unbearably
rapid shifting of locations (one minute we’re in New Hampshire, next we’re in
Iowa, etc.), pacing is handled poorly, with many key moments coming and going
too quickly (little Danny’s resolution with the rotting corpse of Room 237 is
laughably brief). I think this is more because of how overwritten the story is
(one of Stephen King’s notable weaknesses): Doctor Sleep attempts to
exhibit the capabilities of Shiners a bit more, but the results don’t feel
completely fleshed out: they may seem like they have limitless powers until the
plot requires them to have limitations. This lack of clarity with the Shining’s
rules and limitations is only made more complicated with a new plot element,
where the spirit of Dick Halloran teaches Dan to keep his haunting memories
locked away in metaphysical boxes, which becomes a major plot point later on.
It’s all headache-inducing.
Then there’s our characters.
Though Dan is supposed to be our protagonist, played by a slightly bored Ewan
MacGregor, Doctor Sleep really belongs to Abra, who emerges as the most
compelling character in the story, played wonderfully by Kyleigh Curran – while
her acting style feels out-of-place for this kind of story, there is still
great talent on display. But then there’s the villainous True Knot, who, at
best, have no menacing presence and are vapidly uninteresting. At worst,
they’re kind of goofy, especially leader Rose, who resembles Diane Keaton if
she were a New Age gypsy.
Despite these circumstances,
there are some well-constructed sequences that don’t necessarily make the
entire experience worthwhile, but are noteworthy. There are a few genuinely
bone-chilling moments, one in particular involving a Little League Baseball
player’s fate in the hands of the True Knot. The psychic duels between Rose and
Abra are admittedly really cool and creatively executed, particularly one
moment set in a supermarket.
But to top everything off,
there’s the climactic showdown at the Overlook Hotel. Complimented by a
meticulously crafted set design, it is now closed, boarded-up, and dilapidated
– perhaps I shouldn’t be talking about this, but it’s shown in all the
advertising. I think this whole sequence showcases the best aspect of Doctor
Sleep: there’s a passionate sincerity for the source material that shines
brightly through the entire film. Yes, there is fan service, but it’s in
reasonable doses and never overshadows the main substance at hand, no matter
how weak it is. At least Flanagan has his priorities straight.
There’s actually a lot more to
Doctor Sleep that I’ve not even touched, but I honestly don’t care – the
more the film went on, the more discombobulated it became, and the more
detached I was. Considering the film was two and a half hours long, I definitely
lost almost all interest. What a shame. There’s subject matter that is ripe
with potential for a great horror film, and continuing Kubrick’s approach could
have made Doctor Sleep interesting, but by simultaneously committing to
King’s novel, it becomes an awkward experience that never reaches take-off
speed due to frantic gear-shifting, confusing enough for fans of Kubrick’s film
and even more so for fans of King’s novels.
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