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!

Never Cry Wolf (1983) - a REAL walk on the wild side:

Never Cry Wolf (1983) - a REAL walk on the wild side:

Review by Jack Kost.

This Disney production, directed by Carroll Ballard, released in the United States on October 7, 1983, is a somber and beautiful nature movie, set in the snow-bound Canadian wilderness.

Charles Martin Smith plays Tyler, a Government biologist, sent to the harsh and unforgiving region to ascertain whether wolves are responsible for the alarming decline of the Caribou herds.

On the outset of his mission, Tyler encounters Rosie (Brian Dennehy), who initially seems friendly – even though borderline psychotic, but later emerges as an astute fortune hunter.

Symbolizing the worst of mankind, Rosie is there only to destroy the habitat in a money-making enterprise.

Early in the story, Tyler is rescued and befriended by Ootek (Zachary Ittimangnaq), and learns about the lifestyle of the indigenous Inuit people.

Never Cry Wolf is a visual feast; the landscape scenery is breathtaking, and Mark Isham’s music score is haunting.

It’s based on the autobiographical book by Farley Mowat, presented here as the character, Tyler.

The slow and thoughtful pace of the movie is lightened with the comic scenes of Tyler drinking tea by the gallon, and urinating around his base camp, scent-marking it as the wolf establishes his territory.

It turns into a battle of the wills and bladders between man and wolf, until the wolf finally accepts the boundary of Tyler's territory.

Later, Tyler learns the wolf is not the culprit and vital to the balance of nature: culling only the injured and slowest Caribou – effectively keeping the herd strong.

The wolves’ main food is the multitudes of field mice – of which Tyler also chows on as an experiment, after the mice swarm his tent and his own food reserves are depleting.

I believe in conservation, and I love the wolf in particular.

Never Cry Wolf is delicately compelling and melancholic.

I empathized with Tyler and appreciate the necessity to conserve and protect this beautiful planet: our home.

One of my favorite scenes is near the end: Tyler, with the heavy snow and the brutal winter set in around him, sits at the edge of a lake and blows hard on a bassoon.

The sound is heard by a distant wolf pack, and they howl back, acknowledging the distance between them, a declaration that neither Tyler, nor the rest of mankind, belong there.

Never Cry Wolf moved me with two reflective and potent realities of the region: sadness and silence.

Everything there seems to be on an inexorable path towards extinction: the caribou, wolves, Inuit people, and even the habitat itself.

The illusion of a place where the only things to cut through the silence are the howl of a wolf, or the wind, is that time appears to stand still.

Charles Martin Smith and Brian Dennehy played great roles.

However, like the wilderness, this movie belongs to the wolves.

One particular line resonates with me, and I hope it never becomes prophetic of the wolves and the plight of the natural world:

I believe the wolves went off to a wild and distant place somewhere, although I don’t really know, because I turned away and didn’t watch them go.

– Charles Martin Smith, as Tyler.

Born on this day – Moses Gunn:

Actor

October 2, 1929 – December 16, 1993