Category: Mike Flanagan

DOCTOR SLEEP

By Marc S. Sanders

I never yearned for a sequel to The Shining.  Yet, color me surprised at how well I took to Mike Flanagan’s adaptation of Stephen King’s return to psychic Danny Torrance and the haunting baggage he carries as a middle-aged adult in Doctor Sleep.  This is a time jump sequel that is nearly forty years in the future.

The film version of this story had a tricky challenge.  King notoriously despised Stanley Kubrick’s horror classic adaptation of The Shining. Several important details were not consistent between his book and the movie.  So, what was Flanagan to do?  Well, he got his blessing from the author to move ahead as a sequel to Kubrick’s interpretation because he also ensured that he would not veer too far away from how the novel was edited.  The director reasoned with King that more people are familiar with Kubrick’s product than what’s in King’s pages. Mike Flanagan found the right balance to please not only Stephen King, but also the respective fans of the novels and Kubrick’s unforgettable film.

Danny is played by Ewan McGregor.  He’s often reflecting on his childhood following his survival from his stay at the haunted Overlook Hotel in the snowy mountains of Colorado, where his delirious and murderous father terrorized him and his mother Wendy with an axe.  Now Danny is making efforts to recover from alcoholism as he takes a job as a hospice orderly in a small New Hampshire town.  It keeps him isolated while the ugly hauntings that he shines on stay contained in his mental lockboxes.  He also uses his gift to allow patients to peacefully carry over to the other side.   Danny becomes known as Doctor Sleep.

Elsewhere in the country there is a traveling cabal of people who devour the energies off of young children with similar shining abilities like Danny.  This small cult is known as The True Knot and their leader is the charming Rosie The Hat (Rebecca Ferguson).  The presence of one very special child is Abra (Kyliegh Curran).  Flanagan gets very creative in showing how Rosie, Abra and Danny locate and communicate with one another from faraway points.  Rosie’s technique is reminiscent of an amusing sequence in The Big Lebowski, though as you might expect the mood is altogether different in Doctor Sleep.  

Doctor Sleep is a longer picture than it needed to be.  The exposition goes on for quite a while where three separate stories are proceeding, and it becomes cumbersome to see how the dots are connected.  Yet, the movie eventually finds its way as things become more simplified.  Flanagan works some action scenes and neat visuals into the picture, but he does not neglect Stephen King’s penchant for nauseating and grotesque horror either.  Normally, I feign at seeing victimized children in deadly peril for the sake of escapist entertainment.  Here, it is repulsive on more than one occasion, but the moments serve the story and enhance the motives of the villains.  

The payoff of the film is the third act where this adaptation relies on much of Kubrick’s treatment of The Shining.  As the book was entirely different with its ending, Flanagan had to take a chance with some creative liberties.  Amazingly, his efforts score very well.  I’m not the biggest fan of Stanley Kubrick’s film (read my review on this site), but I had to cheer as more developments gradually unfolded.  There’s much to explore through the eyes of Ewan McGregor as Danny.

Mike Flanagan’s craftsmanship with a cast of supporting actors, including Henry Thomas (E.T.: The Extra-Terrestrial) assuming Jack Nicholson’s role, are quite uncanny and lend to the argument to not depend on AI or “de-aging” visuals to recapture what once was.  Carl Lumbly effectively takes over for Scatman Caruthers and Alexandra Essoe does a very good pick up from Shelley Duvall’s performance as Wendy – a little flighty, melancholy and zany. The little ticks and inflections in these newly cast actors are mimicked quite well without going over the top.

Set pieces etched into anyone’s subconscious who has seen The Shining are impressively recreated by Flanagan’s team, from stained walls, big curtains and chandeliers to that very familiar orange, brown/black sectional pattern on the carpet of The Overlook.  At one point in film, Danny goes for a job interview and the office he sits in is an exact recreation of when his father Jack met with the managers of the hotel at the beginning of Kubrick’s film.  This kind of attempt at consistency has to be saluted.  It’s really amazing.  Mike Flanagan shows his painstaking efforts at recapturing Kubrick’s designs. I do not look at these efforts by Flanagan as commemorations so much as I see an omnipotence that observes Danny like it did to his father Jack before him. Danny might have survived, but the demons of his past and the sins of his father remain. He can never escape where he came from even if he relocates to New Hampshire, or wherever he goes.

Doctor Sleep offers the disturbing imagery you’d expect from Stephen King.  I’ve never been the author’s biggest fan.  Still, I really appreciate the creativity he lent to his sequel nearly a half century later.  It makes sense to have waited this long for the writer to pick up where he left off with some of his most well-known characters and locations.  

This dark fantasy works for its collection of heroes and their villains.

NOTE: I viewed the Blu Ray Director’s Cut which Miguel informed me is the better way to watch the film. I agree. There are more nods to Stanley Kubrick’s original film, and the outline of the picture performs in chapter sections like you might expect in Stephen King’s novel. Mike Flanagan never lost sight of either storyteller’s accomplishments. Doctor Sleep is an undervalued achievement in film. A very worthy sequel.

DOCTOR SLEEP (2019)

by Miguel E. Rodriguez

Director: Mike Flanagan
Cast: Ewan McGregor, Rebecca Ferguson, Kyliegh Curran
My Rating: 9/10
Rotten Tomatometer: 76% Certified Fresh

PLOT: Nearly forty years after the events of The Shining, an adult Danny Torrance makes contact with someone else who can “shine”, and is soon drawn into a war with a band of people who hunt gifted people like himself.


If you had asked me a year ago to list movies will never get a sequel, Stanley Kubrick’s 1980 adaptation of The Shining would have been near the top of that list.  As adaptations go, it has its share of fans and detractors, but as a stand-alone horror movie, it’s a stone-cold masterpiece that has never been equaled.  When I heard that they were actually making a sequel based on Stephen King’s own sequel to The Shining, I was extremely skeptical.  The last time someone made a follow-up to a Kubrick film was 2010 (1984), and while that film was a decent sci-fi flick, it didn’t come close to the spectacle of Kubrick’s 2001: A Space Odyssey (1968).  So my expectations were, as they say, tempered.

After watching Doctor Sleep earlier tonight, I can say, unequivocally, that while the film is not perfect, I could not have asked for a better sequel to The Shining.  It’s a treasure trove for fans of the original, and also for fans of the extended universe that King has created for his novels, starting with the Dark Tower series forward.  (For those particular fans, you’ll be glad to see a very specific two-digit number making a conspicuous cameo…)

To begin with, the story is classic King.  Danny Torrance has grown into an irresponsible adult with a drinking problem, marking an unfortunate parallel with his father, Jack.  He hits bottom and takes up residence in a sleepy New Jersey town, joins AA, and works as an orderly at a local hospice.  Up to now, he has done everything in his power to keep his “shine” in check, but he finds a pragmatic use for his gift working with terminal patients, with the help of an inscrutable cat who can sniff out which patient is going to die next.

Eventually he comes into contact with a young girl named Abra, who lives in another part of New Jersey, but who can “shine” like he can.  And then there’s this nomadic group of people, calling themselves The True Knot, who are apparently hunting down other people with the “shine” for their own nefarious purposes.

It all wraps and weaves into a thrilling tale that skillfully retains the feel of Kubrick’s film.  Doctor Sleep works on its own merits, but the more you know about The Shining, the more thoroughly you’ll enjoy this new film.  Sharp-eyed cinephiles will be amazed at how many times, and in how many different ways, Kubrick’s style is echoed and referenced in this sequel.  These include liberal use of fade transitions, lots of static shots, Steadicam shots, use of natural lighting, those shots with the axe (!), even the aspect ratio that the film was shot in.  I got a giddy little swoop every time I saw how carefully the director, Mike Flanagan, was working the master’s craft into his film.  It was like watching a very subtle Kubrickian version of Ready Player One.  And it never comes off as plagiarism…it’s definitely homage, not theft.

Another aspect I really enjoyed was how the movie doesn’t rush through anything.  It’s two-and-a-half hours long, longer than average these days, which is yet another echo of The Shining.  When it works, that kind of pacing and running time gives the viewer the luxury of settling into the rhythm of the characters, makes them feel more like real people instead of cardboard cutouts hurrying from one milestone to the next.  For example, there’s a scene where one character performs a kind of astral projection to find someone.  There is a rather long series of shots showing her traveling through space that I can easily imagine would have been truncated in a lesser film.  Doctor Sleep, instead, gives us a good long look at her journey, to really feel the distance involved.  It’s quite a beautiful sequence, in fact.

This was a much better movie than I anticipated, which is good, because I never believed it was necessary.  It’s a relief to see that the continuation of Danny Torrance’s story has been handled in such a respectful manner, both towards the first film nearly 40 years ago and towards the viewers and fans.  It’s not perfect (I could pick nits about one particular aspect of the finale if I wanted to), but it’s a worthy successor to Kubrick’s masterpiece.  This belongs on the list of the best Stephen King adaptations along with It (2017), The Green Mile, and The Shawshank Redemption.

P.S. The blu-ray edition of Doctor Sleep contains a director’s cut that extends the running time by thirty minutes, adds more details about Abra’s powers, among other things, and inserts “chapter breaks” that almost make it feel like a miniseries.