Kubrick scrapped the idea of the Overlook as your standard-issue Stephen King bad place that wants you to kill, kill, kill (and, on that note, has anyone watched Garth Merengi's Dark Place on Adult Swim?) in favor of the quieter horror of the world unraveling around a frustrated domestic bully.

Not just any domestic bully, but one who thinks himself a genius. I think Kubrick revealed a lot with this one. Much as he did in Full Metal Jacket when the control freak drill sergant overplayed his control and got himself killed. There's exactly one moment when R. Lee Eremey drops his facade and tries to defuse Vincent D'Onofrio, but when that doesn't work, he resorts to the drill sergant playbook and gets himself fragged for it.

I had to go dig this up because I read it a while ago. I don't agree with all of it, but I do think there's something to this analysis of The Shining:

The Shining is not really about the murders at the Overlook Hotel. It is about the murder of a race -- the race of Native Americans -- and the consequences of that murder.
If you are skeptical about this, consider the Calumet baking powder cans with their Indian chief logo that Kubrick placed carefully in the two food-locker scenes. (A calumet is a peace pipe.) Consider the Indian motifs that decorate the hotel, and the way they serve as background in many of the key scenes. Consider the insertion of two lines, early in the film, describing how the hotel was built on an Indian burial ground.

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It's not my favorite of his, but I heart Kubrick in general.

There's exactly one moment when R. Lee Eremey drops his facade and tries to defuse Vincent D'Onofrio, but when that doesn't work, he resorts to the drill sergant playbook and gets himself fragged for it.

I know exactly the moment you speak of, Frank. I can replay the scene in my head with ease. 'Tis burned into my brain.

Shining is not my favorite of Kubrick's either, but I have a fondness for it. I've never read the novel, so I have nothing to compare it to, save other Kubrick films.

Which, you know, works in its own way.

I heart Kubrick in general.

It's funny--my extreme love of A Clockwork Orange left me thinking I loved Kubrick, but on looking at his cv I am always reminded I'm untouched by most of the rest of what I've seen. I have not seen Spartacus, and consider doing so, but I'm not sure which way it will tip my affection.

It is about the murder of a race -- the race of Native Americans -- and the consequences of that murder.

Really? That needed to be a jillion times more obvious.

Was that a critic's opinion, or did Kubrick say that?

In general I find Kubrick tedious and boring but I liked Clockwork Orange and Spartacus. Barry Lyndon was only made worth it when I watched Love & Death a few days later. My hatred of Barry Lyndon made Love & Death so very funny.

In new release news- I screened A Plumm Summer yesterday and though I haven't seen the ending I think this is a good bet if you need to take a kid to the movies. Very evocative of an earlier era with a sweet relationship between a boy and his older brother & a blossoming first love set against the backdrop of a mysteriously kidnapped frog.

In general I find Kubrick tedious and boring

So you haven't seen The Killing? Because it's not that.

So you haven't seen The Killing?

I think I took it off the list after Barry Lyndon. Is it really worth it?

hatred of Barry Lyndon

I'm sure I know what each of these words mean individually, but in this order they make no sense.