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Happy 37th Birthday to Stanley Kubrick’s ‘The Shining!’

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On May 23, 1980, Stanley Kubrick’s seminal horror film The Shining was unleashed upon the world. Adapted from Stephen King’s classic 1977 novel of the same name, The Shining has become known as one of the scariest movies of all time, as well as regarded as one of the best horror films of all time. We all know Stephen King feels about Kubrick’s adaptation of his third novel, but interestingly enough, audience and critical reception were decidedly mixed when the film was first released. We thought we’d take a look back at just what people thought about The Shining back in 1980.

In terms of box office, The Shining would go on to gross $44 million upon in 1980 ($127.8 million in 2016 dollars). Of course, it only made $622,337 its opening weekend. That was only in 10 theaters, which gives it a respectable $62,233.70 per theater average, but when you consider the fact that Friday the 13th grossed $5.8 million when it opened just two weeks prior (though that was in 110x more theaters) it puts it a bit more into perspective. Luckily, the film would go on to earn more than double its $19 million production budget.

Would you believe that The Shining was also nominated for two Golden Raspberry Awards? Stanley Kubrick was nominated for Worst Director and Shelley Duvall was nominated for Worst Actress (something Stephen King was probably not too upset about). In fact, The Shining was the only one out the last nine films that Kubrick made not to be nominated for an Academy Award or a Golden Globe. It seems almost impossible to believe now, but The Shining was once critically maligned by many critics.

Variety agreed with King’s perception of the film, stating that it “destroy[ed] all that was so terrifying about Stephen King’s bestseller.” The Guardian wrote that “If The Shining isn’t trivial, it certainly encourages one to think that it is.” Gary Arnold of The Washington Post went on to describe it as an “elaborately ineffective scare movie.” What is fascinating about his review is that he points out that trailer for the film gives away its best money shot (the blood coming out of the elevator doors), showing that even in 1980, people were pissy about trailers showing all the good stuff.

Not all reviews were so negative, however. Janet Maslin of the The New York Times gave the film a positive review, though she did mention that “the film’s climactic chase virtually fizzles out before it reaches a resolution.” Roger Ebert, who failed to review the film upon its initial release would go back to the film in 2006 and add it to his list of “Great Movies.”

Of course, we all know that The Shining is a fantastic film, right? Truth be told, The Shining was always one of my least favorite Stephen King novels (I’m so sorry Mr. King. If we ever meet please don’t hold that against me). I’m more of a Misery guy myself, but perhaps my general animosity toward’s King’s novel is why I love Kubrick’s film version so much. King was right when he described the film as “cold” and that’s what makes it such an effective and (sorry) chilling horror film.

What are your thoughts on The Shining? Do your negative thoughts on the film now feel validated by knowing that not everyone adores the film? Or do find the film to be the classic it is so often claimed to be? Either way, give the film a re-watch on its 37th birthday today, and let us know your thoughts in the comments below!

Originally published on this day last year.

A journalist for Bloody Disgusting since 2015, Trace writes film reviews and editorials, as well as co-hosts Bloody Disgusting's Horror Queers podcast, which looks at horror films through a queer lens. He has since become dedicated to amplifying queer voices in the horror community, while also injecting his own personal flair into film discourse. Trace lives in Austin, TX with his husband and their two dogs. Find him on Twitter @TracedThurman

Editorials

‘Leprechaun Returns’ – The Charm of the Franchise’s Legacy Sequel

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leprechaun returns

The erratic Leprechaun franchise is not known for sticking with a single concept for too long. The namesake (originally played by Warwick Davis) has gone to L.A., Las Vegas, space, and the ‘hood (not once but twice). And after an eleven-year holiday since the Davis era ended, the character received a drastic makeover in a now-unmentionable reboot. The critical failure of said film would have implied it was time to pack away the green top hat and shillelagh, and say goodbye to the nefarious imp. Instead, the Leprechaun series tried its luck again.

The general consensus for the Leprechaun films was never positive, and the darker yet blander Leprechaun: Origins certainly did not sway opinions. Just because the 2014 installment took itself seriously did not mean viewers would. After all, creator Mark Jones conceived a gruesome horror-comedy back in the early nineties, and that format is what was expected of any future ventures. So as horror legacy sequels (“legacyquels”) became more common in the 2010s, Leprechaun Returns followed suit while also going back to what made the ‘93 film work. This eighth entry echoed Halloween (2018) by ignoring all the previous sequels as well as being a direct continuation of the original. Even ardent fans can surely understand the decision to wipe the slate clean, so to speak.

Leprechaun Returns “continued the [franchise’s] trend of not being consistent by deciding to be consistent.” The retconning of Steven Kostanski and Suzanne Keilly’s film was met with little to no pushback from the fandom, who had already become accustomed to seeing something new and different with every chapter. Only now the “new and different” was familiar. With the severe route of Origins a mere speck in the rearview mirror, director Kotanski implemented a “back to basics” approach that garnered better reception than Zach Lipovsky’s own undertaking. The one-two punch of preposterous humor and grisly horror was in full force again.

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Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

With Warwick Davis sitting this film out — his own choice — there was the foremost challenge of finding his replacement. Returns found Davis’ successor in Linden Porco, who admirably filled those blood-stained, buckled shoes. And what would a legacy sequel be without a returning character? Jennifer Aniston obviously did not reprise her final girl role of Tory Redding. So, the film did the next best thing and fetched another of Lubdan’s past victims: Ozzie, the likable oaf played by Mark Holton. Returns also created an extension of Tory’s character by giving her a teenage daughter, Lila (Taylor Spreitler).

It has been twenty-five years since the events of the ‘93 film. The incident is unknown to all but its survivors. Interested in her late mother’s history there in Devil’s Lake, North Dakota, Lila transferred to the local university and pledged a sorority — really the only one on campus — whose few members now reside in Tory Redding’s old home. The farmhouse-turned-sorority-house is still a work in progress; Lila’s fellow Alpha Epsilon sisters were in the midst of renovating the place when a ghost of the past found its way into the present.

The Psycho Goreman and The Void director’s penchant for visceral special effects is noted early on as the Leprechaun tears not only into the modern age, but also through poor Ozzie’s abdomen. The portal from 1993 to 2018 is soaked with blood and guts as the Leprechaun forces his way into the story. Davis’ iconic depiction of the wee antagonist is missed, however, Linden Porco is not simply keeping the seat warm in case his predecessor ever resumes the part. His enthusiastic performance is accentuated by a rotten-looking mug that adds to his innate menace.

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Pictured: Taylor Spreitler, Pepi Sonuga, and Sai Bennett as Lila, Katie and Rose in Leprechaun Returns.

The obligatory fodder is mostly young this time around. Apart from one luckless postman and Ozzie — the premature passing of the latter character removed the chance of caring about anyone in the film — the Leprechaun’s potential prey are all college aged. Lila is this story’s token trauma kid with caregiver baggage; her mother thought “monsters were always trying to get her.” Lila’s habit of mentioning Tory’s mental health problem does not make a good first impression with the resident mean girl and apparent alcoholic of the sorority, Meredith (Emily Reid). Then there are the nicer but no less cursorily written of the Alpha Epsilon gals: eco-conscious and ex-obsessive Katie (Pepi Sonuga), and uptight overachiever Rose (Sai Bennett). Rounding out the main cast are a pair of destined-to-die bros (Oliver Llewellyn Jenkins, Ben McGregor). Lila and her peers range from disposable to plain irritating, so rooting for any one of them is next to impossible. Even so, their overstated personalities make their inevitable fates more satisfying.

Where Returns excels is its death sequences. Unlike Jones’ film, this one is not afraid of killing off members of the main cast. Lila, admittedly, wears too much plot armor, yet with her mother’s spirit looming over her and the whole story — comedian Heather McDonald put her bang-on Aniston impersonation to good use as well as provided a surprisingly emotional moment in the film — her immunity can be overlooked. Still, the other characters’ brutal demises make up for Lila’s imperviousness. The Leprechaun’s killer set-pieces also happen to demonstrate the time period, seeing as he uses solar panels and a drone in several supporting characters’ executions. A premortem selfie and the antagonist’s snarky mention of global warming additionally add to this film’s particular timestamp.

Critics were quick to say Leprechaun Returns did not break new ground. Sure, there is no one jetting off to space, or the wacky notion of Lubdan becoming a record producer. This reset, however, is still quite charming and entertaining despite its lack of risk-taking. And with yet another reboot in the works, who knows where the most wicked Leprechaun ever to exist will end up next.


Horror contemplates in great detail how young people handle inordinate situations and all of life’s unexpected challenges. While the genre forces characters of every age to face their fears, it is especially interested in how youths might fare in life-or-death scenarios.

The column Young Blood is dedicated to horror stories for and about teenagers, as well as other young folks on the brink of terror.

Leprechaun Returns movie

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

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