Even before considering anything that happens in the actual movie, Mike Flanagan’s “Doctor Sleep” – the latest Stephen King adaptation from the burgeoning horror filmmaker – is a fascinating specimen. It’s obvious why; TV spots have been well-seasoned by audio and visual cues from 1980’s “The Shining” – a genre cornerstone infamously dismissed by Stephen King, beloved by seemingly everybody else and the story which “Doctor Sleep” continues – as Flanagan’s film wears its calling card on its sleeve, as well as its dubious nature.
Much like Denis Villeneuve’s “Blade Runner 2049,” the mere existence of “Doctor Sleep” calls into question its intentions and loyalties, even as Disney’s shameless, financially-driven IP-mining goes unquestioned. “Doctor Sleep,” more than any “Avengers” or Joker origin story, begs the question, even if it doesn’t mean to: What responsibility, if any, do movies have to what’s come before? Most of the time, even asking that says more about our belief that stories belong to us – and only us – than the stories themselves. Though, in the case of “Doctor Sleep,” it’s a more nuanced question, thanks to the legacy of “The Shining” that is as robust a mythology as that of the Overlook Hotel itself.
That “Doctor Sleep” would rather all that nonsense not be where the conversation about it starts speaks volumes. With varying degrees of expectation on its shoulders, Flanagan’s movie is an often-riveting, deeply contemplative genre offering almost completely of its own creation, expanding the (admittedly scant) lore of “The Shining” without leaning on it…too much. Die-hards will probably label it a triumph that the movie doesn’t do anything to renege on what makes Kubrick’s movie so good, but “Doctor Sleep” also exhibits enough devotion to its themes of withholding and confronting trauma that the fact it isn’t all that capital-S Scary doesn’t really matter. Continue reading →