![]() ![]() ![]() It’s one of the great opening credit sequences in any horror film, one that’s able to conjure impending dread without a single line of dialogue, and from here everything’s a descent into a hellish nightmare (kind of ironic, considering the car’s going upwards, into the mountains). The deep-toned synth is quickly accompanied by what sounds like grotesque human voices screaming. Wendy Carlos’s synth-heavy score booms ominously in a low octave that’s enough to set skin crawling. Take a second, though, step back, and look as the film begins.there’s a camera, gliding through the Rocky Mountains, tilting dizzily as it navigates the ridges, then suddenly: here’s a car, crawling up the serpentine path!īut, wait, something’s not right. ![]() It’s a book that means a lot to you - and perhaps once meant even more - and to see somebody like Kubrick take it, transfigure it, and present it as something so defiantly different as what you originally intended may not be easily digestible. Psst, Stephen King! Listen: I understand your initial animosity towards Stanley Kubrick’s adaptation of your much beloved The Shining. ![]()
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