Flanagan takes visual and narrative cues from the Kubrick film and both of King's books, then fuses them into something as unique and powerful as his version of 'The Haunting of Hill House'.
Flanagan, as ever, favours character and slow-burn storytelling over cheap shocks, and cleaves closely to King’s spiritual sequel until Kubrick’s Overlook inevitably comes into play.
There’s an undeniable resonance to seeing Danny walk back through the darkened corridors of his one-time home, confronting a past that looks kind of, sort of, vaguely like Jack Nicholson.