On the face of it, making a sequel to “The Shining” does not sound like a promising idea. Stephen King’s original novel, which was published in 1977, remains one of his greatest (it’s n…
,” and the movie that has now been made of it combines that book, which follows the saga of Danny Torrance as an adult, with a deviously exacting replication of the mood and setting of Kubrick’s “The Shining.”
That the movie works at all says something about how irresistible it is to go back there. That it works as well as it does is a testament to the ominous pull of Stephen King’s imagination. I still don’t know if “The Shining” needed a second act, but “” presents one that’s fresh and unsettling enough to justify its existence.
The year is 2011, and it doesn’t take higher math to see how Dan wound up as an angry drunk: So was his father. Dan is carrying demons of the personal kind — but, of course, he’s also still shining, picking up disparate voices as if his head were a radio receiver, though he tries to keep the voices compartmentalized in “lockboxes,” the way Dick Hallorann taught him to. Dan gets a job as an orderly at a hospice clinic, where he uses his psychic abilities to help ease patients into the beyond .
Yet the movie also has a wild card, in the form of a treacherous life-or-death cult ruled over by someone named Rose the Hat. She’s played by Rebecca Ferguson, who was so radiant as the opera diva in “The Greatest Showman,” and when Rose shows up in the opening moments of “Doctor Sleep,” tempting a little girl with flowers, the film strikes a note of mesmerizing creepiness.
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