Ronald Epstein

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Funny, as I've always thought of that as one of the least vampire-ish vampire films ever. That and Twilight. :D Though it's been so long since I've seen Interview, maybe I'm hazy on the details.

You should (not) check out 30 Days of Night :eek:
Oh, I've seen that.

Also a Swedish film called, "Let The Right One In" which was remade into a less-stellar American version
 

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Oh, I've seen that.

Also a Swedish film called, "Let The Right One In" which was remade into a less-stellar American version
30 Days of Night is an entertaining movie. Ron, I know it’s popular to slam Let Me In, but I think both versions are excellent in their own ways. I actually prefer the US version in several ways.
 

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30 Days of Night is an entertaining movie. Ron, I know it’s popular to slam Let Me In, but I think both versions are excellent in their own ways. I actually prefer the US version in several ways.
Had no idea it was popular to slam that movie. I really never read any comments about it. Just my own experience.
 

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I know this is a sidebar to Doctor Sleep, but the only 4 movies that really scared me (and I saw them on a large screen with an audience) were:
Invaders from Mars (original, first run)
Invasion of the Body Snatchers (original, first run)
The Innocents (1961, first run), available on a fine Criterion BD
The Uninvited (courtesy of Bill Everson), available on a fine Criterion BD
Vampire movies also terrified me and I remember walking home at night by myself (a mere child) holding my little cross in from of me, just in case. Dracula (1958) was particularly scary and these early Hammer played uncut in Puerto Rico. As I grew older I came to appreciate vampire movies as very sensual and sexual, adding an extra element to the mix of sex. pleasure and death.
 

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Well, getting back on track, you guys convinced me to spend more money and I bought Doctor Sleep on iTunes. Starting it now.

I can say that I think Rebecca Ferguson is my new dream woman.
 

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Well, getting back on track, you guys convinced me to spend more money and I bought Doctor Sleep on iTunes. Starting it now.

I can say that I think Rebecca Ferguson is my new dream woman.

Hope you are watching the Director's Cut and REALLY looking forward to your review of this.
 

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I’ll be watching the directors cut tonight.
 
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I remember seeing that film in a little downtown theater in Danville, Illinois and laughing my ass off during that scene as some people in my almost full audience looked at me like I was crazy. For some reason, it just cracked me up with her headless body and her flinging arms. I know, I'm weird.:)
I think that was the most graphic violence I'd ever seen in a movie to that point.

I'd seen R-rated horror prior to that, and "Alien" of course had the famous chestburster scene.

However, horrific as that was, it was still fantasy. Seeing a human get her head chopped off was more real!
 

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Hope you are watching the Director's Cut and REALLY looking forward to your review of this.
I watched it and I enjoyed it. Of course, I don't know what is missing in the theatrical version, and while it's definitely deliberate, it never dragged for me.

I thought Carl Lumbly was excellent at reviving a character from The Shining.

The "Tribe" didn't strike me as vampires, for pretty obvious reasons, but I can see why they would for a lot of people. What was a lot closer for me is Wendigo, though the consumption is more metaphorical.

I really liked the character of Abra.

It struck me that the music leading into the final showdown (also in The Shining) is "March to the Scaffold" from Symphony Fantastíque by Hector Berlioz. I like when something has a double meaning like that. Plus, the music fits. (Do I have that right? Was it a different movement from the same Symphony?)

I enjoyed it and thought it was very well done.
 
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I watched the theatrical cut this evening -- I wasn't going to convince my wife and mother to sit through the 3 hour director's cut. I thought the film was well-done, although the ending diverges from the novel -- just as it did with The Shining. I actually prefer the film's ending in this case, although I preferred the novel's ending in The Shining.

I will go back and watch the director's cut myself somewhere down the road.
 
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(Do I have that right? Was it a different movement from the same Symphony?)
It’s actually Dies Irae

http://www.capradio.org/classical/connections/2016/10/29/connections-102916/


The soundtrack music is foreboding and unsettling—perfect for the opening of Stanley Kubrick’s horror masterpiece, The Shining. Soperfect, in fact, that most people assume it was written for the film.

But in fact, the melody is from a 13ththirteenth-century Latin hymn that describes God’s “Day of Wrath,” the Judgment Day when the faithful will be saved, and the others cast into eternal flames.

Sung originally in the Christian Mass for the Dead, by the 19th century, the tune symbolized not only human mortality, but the forces of evil—sometimes in serious fashion, sometimes not.

In this hour, the “Dies Irae” melody in works by Liszt, Berlioz, Saint-Saens, Rachmaninoff, and many more.
 

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Also used as the main theme of the cult classic The Car. (1977)
 
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The Directors cut of Doctor Sleep is absolutely the definitive version of the film. It feels more complete, fleshed out , and completely satisfying. It’s epic.
 

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It’s actually Dies Irae

http://www.capradio.org/classical/connections/2016/10/29/connections-102916/


The soundtrack music is foreboding and unsettling—perfect for the opening of Stanley Kubrick’s horror masterpiece, The Shining. Soperfect, in fact, that most people assume it was written for the film.

But in fact, the melody is from a 13ththirteenth-century Latin hymn that describes God’s “Day of Wrath,” the Judgment Day when the faithful will be saved, and the others cast into eternal flames.

Sung originally in the Christian Mass for the Dead, by the 19th century, the tune symbolized not only human mortality, but the forces of evil—sometimes in serious fashion, sometimes not.

In this hour, the “Dies Irae” melody in works by Liszt, Berlioz, Saint-Saens, Rachmaninoff, and many more.
Well, I was right, but remembered the wrong movement. It’s not the 4th, but the 5th, “Dream of a Witch’s Sabbath.” In spite of the info in the link you provided, if you read the program for that movement of the Symphony, it also fits pretty well into the story.
 
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Ronald Epstein

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I watched it and I enjoyed it. Of course, I don't know what is missing in the theatrical version, and while it's definitely deliberate, it never dragged for me.

I thought Carl Lumbly was excellent at reviving a character from The Shining.

The "Tribe" didn't strike me as vampires, for pretty obvious reasons, but I can see why they would for a lot of people. What was a lot closer for me is Wendigo, though the consumption is more metaphorical.

I really liked the character of Abra.

It struck me that the music leading into the final showdown (also in The Shining) is "March to the Scaffold" from Symphony Fantastíque by Hector Berlioz. I like when something has a double meaning like that. Plus, the music fits. (Do I have that right? Was it a different movement from the same Symphony?)

I enjoyed it and thought it was very well done.

I will go back and watch the director's cut myself somewhere down the road.[/QUOTE]


Really happy to hear you enjoyed it.

I did provide a link in the post above that tells you what was added to the Director's Cut. Now that you have seen the DC go ahead and look at it. I think you'll agree that it's a decent amount of good material.

Yes, the tribe could not officially be labeled as vampires, but their cause is the same: Sucking the life out of people in order to retain mortality.


I watched the theatrical cut this evening -- I wasn't going to convince my wife and mother to sit through the 3 hour director's cut. I thought the film was well-done, although the ending diverges from the novel -- just as it did with The Shining. I actually prefer the film's ending in this case, although I preferred the novel's ending in The Shining.

I will go back and watch the director's cut myself somewhere down the road.

Glad you enjoyed this, Scott. It may be hard to go back and sit through it all again just to catch the extra scenes, but I am glad you found the watch a satisfying experience.

It's very good to read that everyone thought it was a very well done film. I originally didn't want to watch it because one immediately gets the idea that you can't top Kubrik and any kind of sequel you attempt to do will be a failure. I am glad to see I was proved wrong.
 

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I will go back and watch the director's cut myself somewhere down the road.

Really happy to hear you enjoyed it.
[/QUOTE]
Something I always thought was odd about the The Shining is that despite its title, it seems to be more about Jack's descent into madness than "The Shine." Whereas Doctor Sleep is almost entirely about "The Shine".
 

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The Directors cut of Doctor Sleep is absolutely the definitive version of the film. It feels more complete, fleshed out , and completely satisfying. It’s epic.
Watched it tonight in 4K via Vudu. Very frustrating that the disc version is only a Blu-Ray, but I'm grateful that at least the digital copy is 4K.

It's interesting, because there aren't really any major new sequences or anything that really stand out as compared to the theatrical cut. But there's no question that the director's cut plays better.

Structurally, the film plays much closer to Kubrick's The Shining, including breaking the story up into "chapters". We get to see more of Abra's life, and better understand how she navigates life with the Shining. The emerging conflict between the True Knot on one side and Dan/Abra on the other side is better developed. The crucial choice Dan has to make at the bar in the Gold Room of the Overlook Hotel is better set up, and the climax at the Overlook as a whole feels better integrated into the story, and less tacked on. Dan's sacrifice also plays better in the Director's Cut, which better drives home that this is an intergenerational story, and that Dan has a duty to pay it forward just as Dick paid it forward to him.

Still think Alex Essoe was miraculous casting as Wendy Torrance. I watched her performance and Shelley Duvall's performance just hours apart, and it feels like the same actress. Carl Lumbly isn't as close of a physical match to Scatman Crothers, but he captures Crothers's voice and performance beautifully. The only one who doesn't quite work is Henry Thomas as the Bartender. The prosthetics to make him look more like Jack Nicholson are distracting, and it would have been worth paying Jack Nicholson whatever he asked to spend an hour in a recording booth dubbing over the lines. The voice Thomas goes with is halfway between Nicholson's voice as Jack and Joe Turkel's voice as the original Lloyd in the first film.
 
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