Dan Torrance, years after the horrific events of The Shining, a dishevelled adult now, must overcome his fears and protect a young girl with a similar ‘shine’ from a cult that feeds on gifted children.
Imagine you are a young and successful director granted permission to write and direct the sequel to a film adaptation famously hated by the author of the book on which it was based, and that same author will be your producer. Let’s make it more intricate by saying that the previously adapted film became a horror landmark, but the author – who hated it – made his own mini-series version that was… unremarkable. More interestingly, both the author and the director were grandmasters in their departments; the author was Stephen King, and the director was Stanley Kubrick. Which adaptation is your sequel based on?
As a lifetime fan of both Kubrick and King and a recent fan of the young and successful writer/director Mike Flanagan, this review hurts more than anything I have typed so far. Flanagan did a lot of things right: He recreated the sets of the Overlook Hotel with surgical precision, the ’80s characters as he was supposed to, cast the right actors for the right roles, and a sequence that truly pays homage to The Shining (1980): The moment between Danny entering the Overlook Hotel and Rose arriving.
Unfortunately, these positive aspects are overshadowed by the script. A script that was written in such a way as to satisfy both King and the true Shining fans. A recipe for failure. The risks start accumulating automatically when you decide to pick up from where Kubrick left off. Steven Spielberg, one of the best directors of our time, sat in the director’s seat and finished off A.I. Artificial Intelligence (2001) after Kubrick sadly passed, and even he faced backlash for doing so. The script here faces a lot of issues in terms of both character and story development. Indicatively (no spoilers), just to get an idea, the characters have an undetermined level of shine in quantity and quality. Incidentally, that causes serious issues with the strategies both heroes and villains follow before, during, and after the standoff.
The Shining is a psychological horror that turns into a paranormal horror in an invisible and inexplicable way to the viewer. Stanley Kubrick directed it with mastery, Jack Nicholson delivered a breathtaking performance (Shelley Duvall paid a heavy price), and we, the audience, jumped from one kind of horror to the other with our jaws on the floor. Doctor Sleep is an amalgamation sequel of two incompatible versions that are heavily undecided as to whether to be psychological or paranormal, ending up being neither.
Despite the tempting references to other King films, I suggest that you don’t consider it a direct sequel. Instead, you should watch the series Castle Rock (2018 – Present), which has finally managed to do what other productions have failed to do in the past (no spoilers) and does so with great success.
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