doctor sleep

review by hiram harrington

It took me some time to write this review, admittedly, as I hadn’t quite yet formed an opinion on Doctor Sleep. Mike Flanagan’s latest adaptation of the bestselling Stephen King novel has so far been a minor dud at the box office despite having the approval of King himself: something the original The Shining film lacked. As a fan of King, and as a queue-up-at-the-bookstore-on-release-day fan of the original novel, I went into Doctor Sleep with high hopes for the big screen translation. The conclusion that I have thus come to is: this reviewer has no idea how to feel about it.

Doctor Sleep picks up almost thirty years after the events of The Shining. Danny Torrance (the inimitable Ewan McGregor) has fallen into a cycle of drug abuse, alcoholism, and bar fights as an adult in an attempt to block out his “shine” - the psychic powers that allow him to read minds, sense auras, and more. Pursued by the demons of his childhood, he finally decides to get sober and begins working as an orderly in a hospice. It is here that he is contacted by a young girl who also shines: Abra (Kyliegh Curran). The film follows Danny and Abra as Danny tries to protect her from a group of ancient beings called the True Knot, led by the murderous Rose the Hat (a standout performance from Rebecca Ferguson). It’s already a much higher concept than The Shining, as you can see.

As a direct sequel to the film as opposed to the book, there are a number of changes from the original text that dampen the emotional impact of the story. Flanagan attempts to marry King’s original vision for the story with the iconography and story arc of Stanley Kubrick’s adaptation. Flanagan meticulously recreates moments from the original film with Danny as a child, and shot-for-shot replicates scenes from the original - including a particularly striking scene where Danny interviews for a job, and the cuts match up exactly to the opening of The Shining where Jack Torrance (Jack Nicholson) interviews for the position at The Overlook. These kinds of moments make the film a treat for fans of The Shining, but as a stand-alone work, it feels half-hearted.

The reason the book of Doctor Sleep was such a worthy follow up to The Shining was because it echoed the original sentiment: every human being, no matter what evils in the world possess them, are inherently good at heart. Kubrick’s alteration of The Shining’s final moments are what King so lambasted, as it changed the message of a story close to his own heart. Flanagan, unfortunately, does much the same. It becomes less about Danny’s personal arc and more about referencing its cinematic predecessor. 

While this was disappointing, the film does feature some particularly standout performances. Rebecca Ferguson is scene-stealing as Rose, proving herself as a creature willing to do anything to achieve her ends. Ferguson maintains a stirring element of humanity throughout in how she cares for her fellow murderous crew members, especially in her relationship with Crow Daddy (Zahn McClarnon). Ewan McGregor, as Danny, was left with the unenviable task of filling some of the most recognisable shoes in cinema history - and somehow, he manages it with finesse. The opening scenes seem almost akin to Trainspotting as he binges and fights in bars, putting McGregor clearly in his element. He’s a realistic addict in recovery, and a stirring reincarnation of the character. Kyliegh Curran is a surprisingly strong player as Abra, but Flanagan’s still appallingly written dialogue for children (see The Haunting of Hill House) lets her character down.

For fans of King, I would approach this film with caution. For fans of horror, I would certainly recommend it. Ultimately, Flanagan has done the best he could in creating a sequel to one of the most recognisable and iconic works of cinema of the last century. It may not be enough to salvage Kubrick’s betrayal of the novel’s original message, but it sure as hell tries.

Doctor Sleep is currently showing in cinemas across Ireland.