DOCTOR SLEEP – Review

We are all lost souls on a journey of discovery. Haunted by our decisions and carrying the weight of the past, we travel along but are constantly looking in our rear-view mirror. Trauma never goes away. Its effect on us isn’t always internalized, and so we see its physical effects on ourselves, and sometimes we reflect it back on the people that we meet. How we come to grips with past pain and how it manifests as life goes on are complex themes that Stephen King explores in his brilliant sequel to THE SHINING.

Danny Torrance (Ewan McGregor) is sort of an enigma going into DOCTOR SLEEP, and director Mike Flanagan takes full advantage of that by keeping audiences on their toes. He pulls you in with familiar scenes at the Overlook Hotel from the original Stanley Kubrick film to set the stage, but soon refocuses the conversation not just on the possessed retreat. While Kubrick might have created an iconic look for the world of THE SHINING that is hard to dismiss or ignore going into this sequel, Flanagan’s adaptation is interested in telling more of a personal story than just a hotel possessing a father. Even with the name, THE SHINING, Danny and his powers become an afterthought in the 1980 film. The powers and the world surrounding them are finally given their due in Flanagan’s unique film that’s equally an adaptation of the source material as a sequel to Kubrick’s film.

The “shining” isn’t just about hearing voices and seeing dead people. Several abilities are brought to light in DOCTOR SLEEP and are presented in a superhero-sort of fashion (I could see Marvel taking notice of this talented director). At the start of the film, McGregor’s Danny is reluctant to acknowledge this side of himself and tries to suppress it through drugs and alcohol. When he embraces a life of sobriety, his life becomes more clear and he’s more attune to his powers as he communicates with a young girl (in a star-making performance by Kyliegh Curran) who also bears strong “shining” strength. She becomes the target of a pack of drifters led by an alluring and cunning stranger, going by the name Rose the Hat (Rebecca Ferguson). Through communication with the young girl, Danny is forced to face his fears and the ghosts that have haunted him since he was a young boy.

Writer/director Mike Flanagan continues to explore characters grappling with past trauma and grief (he previously directed ABSENTIA, GERALD’S GAME,  and THE HAUNTING OF HILL HOUSE). His tender and vulnerable approach to his characters can almost be described as a signature style at this point. McGregor approaches the character of Danny much like the audience. There is a sense of self-discovery throughout, and a fear of going down a path that you know will only end poorly. There’s a sadness in his eyes, and his redemptive journey from addict to mentor is powerful and heartbreaking at times when he struggles with the mental demons and the demons in the bottle. But the most powerful scenes come from his scenes serving as a hospice caretaker. These emotional scenes bear the weight of Danny’s powers as you see that it’s not necessarily a gift. Flanagan centers these moments around beautiful reflections about life and death, and provides more heart in these scenes than anything in Kubrick’s film.

As the leader of a traveling group of vagabonds living off the souls of others, Rebecca Ferguson is mesmerizing in how she conveys a seductive and effortless cool. Her boho-chic meets Stevie Nicks style hides her vicious nature, but as the opening scene proves (a scene that brings to mind the iconic flower petal scene in FRANKENSTEIN), she’s a force not to be reckoned with. While her followers may not make much of an impact, Ferguson’s presence is more than enough to carry the evil-bearing load, while still injecting just a touch of black humor along their journey.

Flanagan’s unique hybrid of literary adaptation and film sequel excels when it’s telling its own story and not trying to replicate the moments that fans are familiar with. Ferguson and the new characters provide enough intrigue and excitement to stand on their own without relying on the power of Kubrick’s iconic imagery. The finale leans heavily into familiar territory with mixed results. Even though I will raise a glass to one tense “bar” sequence that will have fans jittery with delight, many of these scenes feel like obligatory fan service or a director wanting to fulfill his own nostalgic horror childhood – especially when it comes to recreating iconic scenes that ultimately undermine the originality and power of Flanagan’s story.

Poignant and haunting, DOCTOR SLEEP presents characters trying to overcome real trauma and not just haunted by a creepy hotel. Each character has their own demons hidden away in metaphorical and literal boxes, which makes this sequel a much more personal journey than just ghoulish old ladies hiding in Room 237. While some may enjoy checking back into the familiar haunting grounds, I wish the film didn’t feel obligated to live in the shadow of the Overlook Hotel. 

Overall score: 3.5 out of 5

DOCTOR SLEEP opens in theaters November 8th.