 |
|
|
|
| Runtime: 144 min Audio: 5.1 Language: English Frame Rate: 29.9 fps Video Bitrate: 2924 Kb/sec Audio Bitrate: 256 kbps |
Review: Sometimes all good horror should have a good idea. But sometimes, though rarely, horror masterpiece will reach us by Kubrick object elusive touch of a great artist to lead the vision and we know what sets it apart from all else.Okay, the story has enough promise that even a mercenary will have attempt to fail. Hell, even Stephen King himself did not do so bad. Its how Kubrick perceived Kings universe, how it fills the frame that makes for a brilliant holiday senses.Horror, you can reach us through the mind and body, so attack as they were, tended to his country crescendo, but strangely not without delicate lull.Kubricks cinema is, as usual, with a view. We take adventure camera that goes around the corridors of the Overlook Hotel generous as it is a mystical maze Rife research, linear tracking shots destructive impeccably decorated interiors symmetrical greatness. Geometric approach to the way Kubrick perceived space reminds me a lot of Japanese drivers almost 10 years ago. In what is shown in the frame, the elements of the story, is borderline irrelevant how they all balance and harmonize together.Certain images contained in this. The first shot of Jack's typewriter, accompanied by ominous creaking of off-screen ball, drums of doom that seems to start from the very walls themselves or typewriter, an instrument of death in itself, as shown later. A red river run hotels lifts in poetry in slow motion. Jack hit the door with an ax, the camera moves with him, tracking the movement as it happens, as if his camera piercing through the door, not a hatchet. Ultra rapid increase in children facing violence push us in the head before the two dead girls from his POV. And of course, a milestone bathroom scene.Much spoke of Jack Nicholson's intrusive replayed. Its crazy is not entirely successful, because, well, he's Jack Nicholson. Man looks half-crazy anyway. Play crazy exaggerated caricature of himself. Shelley Duvall, on the other hand, is one of the most inspired casting choices Kubrick ever made. Coming from a range of fantastic performances by Robert Altman in the seventies (3 female thieves like the U.S., NASHVILLE), she brings to her character swan match exact amounts of instability and emotional stress. A delicate, loose something thrown in with the crazies.
No comments:
Post a Comment