DOCTOR SLEEP: a Kubrickian xerox with soul and dark beauty

If it’s accepted fact that Stephen King hated Stanley Kubrick’s adaptation of The Shining, one suspects Kubrick would have hated Mike Flanagan’s adaptation of Doctor Sleep.

Primarily because Flanagan (celebrated in the horror community in recent years for projects such as Hush, Oculus & The Haunting of Hill House) doesn’t just put King’s 2013 sequel on the big screen, he actively works to continue the story from Kubrick’s cinematic version, which King has always attested is less faithful to his 1977 novel than the Mick Garris-directed TV mini-series from the 1990’s.

It does feel like King is wishful thinking about a lot of this, though, if you’ve read The Shining. Kubrick added a few of his own touches and flourishes but he sticks close to the plot, and often lifts dialogue from the book. Flanagan does the same here but the singular difference is that Kubrick wasn’t actively aping a director before him. Kubrick was innovating with The Shining. Flanagan is xeroxing. Intentionally, without a doubt, but he’s xeroxing nonetheless as he works to thematically and visually connect Doctor Sleep to the iconic 1980 horror film.

This ultimately works both to the advantage and the detriment of Doctor Sleep as a movie in its own right.