The Shining (1980) vs. The Innkeepers (2011) - Sometimes, less is … less!

Review by Jack Kost

My use of the Oscar Wilde quote will become apparent.

It was recently suggested to me that the 2011 movie The Innkeepers is better than Stanley Kubrick’s The Shining,

released in the United States on May 23, 1980.

Like Jack Nicholson, in The Shining, my reaction to that suggestion is ...

(keep watching - it's animated!)

I have a great idea!

Take Stanley Kubrick’s classic 1980 movie adaptation of Stephen King’s novel: The Shining …

... shorten it by about an hour … give it a feeble script … characters we know little about and couldn’t care less for … make it devoid of atmosphere, tension and suspense … throw in a bunch of superfluous other characters who pad it out, but add little or nothing to the proceedings … have it plod along painfully slowly – leading to nothing of any real consequence … and you have … The Innkeepers!

With stories of this genre, the environment is the compelling element: a haunted house, hotel, or cabin in the woods, a ship adrift at sea – or out in the vastness of space … the setting gives the story its eerie build up.

I credit The Innkeepers’ attention to that detail with its long corridors and winding staircase, but it’s the only real credit I can give it.

I have a problem with stories that just seem way too familiar, and watching The Innkeepers left me with the feeling that it was simply another pointless rehash of The Shining.

I’ve read other reviews, and I know The Innkeepers has its fans.

I’m not one of them.

When does the line between homage fade to insipid imitation?

Instead of simply retreading old ground, why not show some originality?

Put more effort into writing a fuller story; develop the characters by giving them a history – giving us a reason to care about them.

As to the question of The Innkeepers being, putting it mildly, at least similar to The Shining …

What else am I supposed to think when the high-angle exterior shot of The Yankee Pedlar Inn, from The Innkeepers …

… reminds me of the Overlook Hotel, in The Shining:

Claire (Sara Paxton), resting on a bed watching TV, in The Innkeepers …

… reminds me of the scene with Halloran (Scatman Crothers), in The Shining:

Claire, falling asleep while working, in The Innkeepers …

… reminds me of Jack Torrance (Jack Nicholson) in The Shining:

Low angle corridor shots, in The Innkeepers …

… reminds me of those, in The Shining:

The cavernous dining/ballroom, in The Innkeepers …

… reminds me of that, in The Shining:

The lounge area, in The Innkeepers …

… reminds me of that, in The Shining:

The bathtub suicide, in The Innkeepers …

… reminds me of that, in The Shining:

The malevolent force making itself apparent, in The Innkeepers …

… reminds me of those great scenes, in The Shining:

I didn’t see anything new or interesting with The Innkeepers; it left me feeling that I’d seen it all done way better in The Shining.

Oscar Wilde wrote:

“Imitation is the sincerest form of flattery that mediocrity can pay to greatness.”

As imitation often seems to be the order of the day, and if I could have had final say over The Innkeepers, prior to its release, I would have happily imitated Jack Nicholson in The Shining:

I would have swept the whole pile off of the table ...

... then I would have taken an ax to it!

Jacob’s Ladder (1990) – A nightmarish final struggle:

Jacob’s Ladder (1990)

A nightmarish final struggle

Review by Jack Kost

Jacob’s Ladder (1990), directed by Adrian Lyne, released in the United States on November 2, 1990, and based on the screenplay by Bruce Joel Rubin, is a rarity of the genre: an intelligent horror story.

Jacob Singer (Tim Robbins) is a traumatized Vietnam veteran.

He works for the Post Office and shares a cramped apartment with his girlfriend and co-worker, Jezebel (Elizabeth Peña), in a dilapidated block in Brooklyn, New York, during the 1970s.

Suffering from PTSD, Jacob is haunted by flashbacks from his time in the war, his pain compounded by the grief of losing his son in an accident.

His waking hours are invaded by bizarre and terrifying hallucinations of a locked underground subway station, and demons that stalk him wherever he goes.

He has disorientating periods when he awakes to find himself in an alternate reality where he is still married to his wife, Sarah (Patricia Kalember).

In these sections, his son Gabe (Macaulay Culkin) is still alive.

Jacob attempts to discover the truth about his condition and uncovers a conspiracy involving a failed drug experiment.

The title: Jacob’s Ladder, is a Biblical reference, from Genesis 28:10-21, in which a spiritual staircase, flanked by angels, provides a bridge between Heaven and Earth.

In the latter part of the movie, the chemist, Michael Newman (Matt Craven), describes the enhanced drug as: The Ladder.

Afflicted with back pain, Jacob visits his Chiropractor, Louis (Danny Aiello).
Louis is also his friend and confidante.

When Jacob confides his hallucinations, Louis offers solace and reassurance by quoting the 14th-century German theologian and philosopher, Meister Eckhart:

LOUIS:
Eckhart saw Hell, too. You know what he said? He said: ‘The only thing that burns in Hell, is the part of you that won't let go of your life, your memories, your attachments. They burn them all away. But they're not punishing you,’ he said. ‘They're freeing your soul’ … So, the way he sees it: ‘if you're frightened of dying and – and you're holding on, you'll see devils tearing your life away. But, if you've made your peace, then the devils are really angels, freeing you from the earth.’ It’s just a matter of how you look at it, that’s all.

Bruce Joel Rubin’s screenplay, available in paperback, is an essential read for anyone who appreciates the movie.

It provides a wealth of insight and background information on the development of the story, including the inspiration and meaning behind some of the movie’s most stunning and disturbing images, particularly the visions of the “vibrating” men Jacob glimpses.

The book includes deleted scenes, with reasons why they didn’t make the final cut of the movie.

The acting is understated and flawless.
The strong supporting cast includes excellent character actors: Jason Alexander, John Capodice, Matt Craven, Pruitt Taylor Vince, Eriq La Salle, Ving Rhames, Brian Tarantina, Anthony Alessandro, Brent Hinkley, S. Epatha Merkerson, and John Patrick McLaughlin.

Adrian Lyne, like Ridley Scott, knows how to use light to powerful and atmospheric effect.

Maurice Jarre’s soundtrack sets a melancholic and haunting tone.

So many movies rely too heavily on the jump-shock moment to compensate for lack of plot, or character development.
Jacob’s Ladder doesn’t make that mistake.
The script and plot structure have been carefully thought out.

Jacob Singer is the main character, but in no way heroic.
We feel Jacob’s pain, bewilderment, and terror.
He fights when he has to, particularly in the scene where he is abducted from the street and forcibly strong-armed into the back of a car.
Jacob’s demeanor is, for the most part, quiet, friendly and affable, making his mounting fear and vulnerability more believable.

The quieter sections of the story are emotionally involving enough to make the moments of jarring horror nightmarish and chilling, with a final reveal that is both subtle and moving.

Jacob’s Ladder succeeds on many levels: as part war story, tragedy, drama, horror, mystery, hallucinatory nightmare, and theological thriller, giving the viewer much to think about and discuss.

It’s a disquieting and unforgettable experience that improves with repeat viewings, compelling the viewer to examine reality, existence, and the question of what comes after.

Life is fleeting.
Death is a certainty.
One day, we all have to climb that spiritual ladder.
Ascend … or descend?
Heaven … or Hell?
Which direction and destination will be yours?