Stephen King still doesn't like it, but Stanley Kubrick's adaptation of The Shining, which celebrates its 45th anniversary today, remains a landmark in horror movie history. Yet by making the film — and perhaps the Overlook Hotel itself — into an otherworldly, stubbornly neutral viewer, Kubrick made the evil inherent in the story even more malevolent and enigmatic. Alone and snowbound, the family is plagued by manifestations and revenants from the Overlook’s sordid history that begin to chip away at Jack’s sanity. Kubrick kept the basic structure and plot of King’s book, but removed much of its compassion and humanity. Is the camera a manifestation of the Overlook itself, watching while the Torrances tear each other apart through distrust and fear?