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Tag: The Shining (1-5 of 5)

EW's Horror Quintessentials: The 5 best ghost movies


With Halloween fast approaching, EW is picking the five best films in a variety of different horror movie categories. Each day, we’ll post our top picks from one specific group—say, vampire movies or slasher flicks—and give you the chance to vote on which is your favorite. On Oct. 31, EW will reveal your top choices. Today, we’re talking about ghost movies.

Ghosts come in many forms: They can be shapeless and near-invisible, such as the dead in Poltergeist, or they can look as real as a living human, such as the wacky Beetlejuice. But whether they’re visible or not, they all share the same jarring quality of existing beyond the realm of the living.

A good ghost movie will play up that jarring quality, causing a sense of overwhelming discomfort in the viewer, because that’s what ghosts do: They make the living uncomfortable, whether it’s by playfully tormenting them or trying to kill them. What makes them frightening is their existence in a completely difference dimension, one that not anyone can accessmeaning escape from a ghost is often infeasible. They’re omnipresent and persistent. In other words, they’re a pain. READ FULL STORY

Mark Romanek in talks to direct 'Shining' prequel

Mark Romanek, who directed One Hour Photo and Never Let Me Go, is in talks with Warner Bros. to direct a prequel to The Shining. Overlook Hotel will tell the story of the original owner of the cursed Rocky Mountain hotel, which was the setting for Stephen King’s novel and Stanley Kubrick’s 1980 movie with Jack Nicholson. READ FULL STORY

A movie prequel to 'The Shining'? Stephen King isn't so sure ...


Warner Bros. has been exploring the possibility of a movie prequel to The Shining for quite a while, but the project just got a jolt of new life with news that The Walking Dead‘s former showrunner Glen Mazzara is in talks to write it.

But does the studio that released Stanley Kubrick’s 1980 adaptation have the rights to move forward? That’s a question the studio wasn’t able to answer definitively when EW asked last summer, and Stephen King himself recently expressed doubts. READ FULL STORY

Academy, L.A. museum to host first U.S. Kubrick retrospective


It’s been more than 13 years since Stanley Kubrick died of a heart attack in 1999, and the 2001: A Space Odyssey director’s films still blast the minds of fans and movie lovers from Hollywood to Tokyo.

The Academy of Motion Picture Arts and Sciences and the Los Angeles County Museum of Art announced Thursday they will co-present the first-ever American retrospective of Kubrick.

Cannes: Horror stalks the Croisette in 'Dario Argento's Dracula' and an amazing documentary about 'The Shining'

At a film festival dominated by subtitled deep-think, you sometimes need a break. You need a meal, or a drink, or a nap. Or, just maybe, you need a movie like Dario Argento’s Dracula. I’ve never been the biggest fan of this schlock-operatic Italian splatter maven, but after such fevered orgies of gore as Suspiria and Unsane, the thought of him going back to the source — going back to Dracula — sounded appealing. Dracula turns out to be ripely entertaining in a kitschy-sincere old-fashioned way. (The kitsch is in how sincere it is.) It’s true, to a far greater degree than I expected, to Bram Stoker’s novel — much truer than Francis Coppola’s version — and the feel is pure Christopher Lee Hammer horror: the fleshy writhing bosoms (though in this case, they’re uncorseted), the blood smeared like tomato sauce across the mouth of Dracula — played, in a very straight 1960s haircut but with a lot of zest, by Thomas Kretschman. In an age of designer vampires, the movie rekindles the grandeur of Dracula. In this movie, he’s the vampire as aristocratic pimp, and when he sinks his fangs into necks, he really acts out the hunger; you can taste how good it tastes to him. Most of the acting is cardboard-hammy-inept (Asia Argento, who of course strips down for her dad, is better than usual — but then, she always sounds like she’s from Transylvania), and the director, who’s now 71, stages his gruesome effects in a way that’s so primitive that they’ve acquired a novel tactility. You can’t skewer eyeballs, lop off heads, and uncork geysers of blood with this much junky ingenuity unless you believe, in your showman’s heart, in the deep sensuality of violence. READ FULL STORY

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