Both Kubrick and King merit congratulations for making The Shining one of the most overpowering experiences of horror ever committed to celluloid. It manages to treat intangible, elusive subjects—ghosts, demons, spirits and the like—as if they were as real as this morning's headlines.
by Flo Leibowitz and Lynn Jeffress To all appearances, The Shining is simply a hopelessly clichéd gothic horror film. Can this be serious? A lonely house on a hill haunted by ancestral ghosts that curse successive generations and force them to re-enact the original horror. It is not even redeemed [...]
by Richard T. Jameson Camera comes in low over an immense Western lake, its destination apparently a small island at the center that seems to consist of nothing but treetops. Draw nearer, then sweep over and pass the island, skewing slightly now in search of a central focus at the [...]
Kubrick’s adaptation of King's novel, while it maintains elements necessary to cue the genre of the horror film, expands King’s work of popular entertainment into a thoroughly postmodern work of art.
by Thomas Allen Nelson After Barry Lyndon, his least commercially successful but one of his most artistically satisfying films, Stanley Kubrick turned to a contemporary American horror novel by Stephen King. As interesting a potboiler in its own right as Thackeray’s obscure nineteenth-century picaresque adventure, King’s The Shining (1977) represented [...]
A recent variation in the horror movie genre has been a series of films about middle class life in America in which the source of potential hazard is middle class life.
I am not certain what it means to call Stanley Kubrick's The Shining "the first epic horror film," as the ads are quoting Jack Kroll of Newsweek, but surely it is one of the strangest of them.
August 1980 issue of American Cinematographer magazine, including an interview with John Alcott and an article on the use of Garrett Brown’s invention, the steadicam, in The Shining.