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Playing now - effective as hell in the film if JUST due the Bartok, Penderecki, Carlos references.
See the film first, essential here.
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I liked the film. Yes, it felt more like a tv miniseries but it was leagues better than the abysmal remake of The Shining some years ago. It was a little flat in places but the story idea, I thought, was great. It is so rare to see the antagonists being preyed on by the protangonist (Abra) and given the one truly horrid thing that the True Knot committed (won't spoil it but honestly one of the most difficult scenes to get through) I liked how they were summarily treated.
I actually really liked the third act. I didn't realize that was Henry Thomas as Jack Torrence either but I tried to get past that it wasn't Nicholson.
what I found particularly interesting is that all of the emotional scenes were left unscored. I guess this was the director's ode to Kubrick by maintaining emotional distance. Part of me wanted those scenes to be scored, but then it would disrupt the world they were trying to create (or perhaps reconstruct).
The score is effective but it does sound like an attempt to take from Bartok, Carlos, and Penderecki. It's not saying anything new but again, that was probably not that mandate. I've watched interviews with the Newton Brothers and they went to great lengths to achieve some of the music FX which I'm not sure anyone, aside from fellow composers, would really appreciate.
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I watched the director's cut last week and it's one of those cuts that doesn't really add anything substancial but kinda drags in the end.
Will stick to the regular cut for further watchings - same goes for Kubrick's european cut of The Shining.
I got the same impression.
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