Stanley Kubrick, How much more better can his movies get than this, Not really gory, But there is something about this movie that wants you to scream and hide, Its still hard to turn your head away from the screen when really exciting things are going on, Its confusing but its hard to mind it.

This movie has a scary element to it, and so many things about this movie will keep you staring and hiding. Theres nothing to ruin this movie, Nothing can ruin an amazing movie like this. You could point out as many mistakes as you could but it wouldn't matter because you think back and forward, You guess about what would happen and you would be wrong because everything is so clever.

The acting in this movie is amazing! Everybody is acting their part as if they were that person, Everything seems so real, thats whats giving it the scary element. Nothing could beat this classic horror for anything. If your looking for a thrill ride and an amazing horror, This is it!

Saw "Million Dollar Baby" in Manhattan last night. Clint Eastwood, one of the all-time most famous actors -- and directors -- has more than enough money where he could choose to pull the strings on block-buster, mindless action pictures, ala Jerry Bruckheimer, or comic books. Or, hell, in his twilight years he could just lay back and enjoy his millions. But no. He has chosen instead to make quieter, lower-budget, heart-felt, character driven films like "The Unforgiven" "True Crime" "Mystic River" and now Million Dollar Baby. And the world is a better place for it. Eastwood uses his multiple talents to make films that have something valuable to say. In the emotionally powerful, Million Dollar Baby, he tells an allegorical tale of boxing to subtly express themes of hope, redemption, sacrifice, persistence, and belief in one's self. The movie emphasizes that failure is a more honorable and personally fulfilling trait than never having tried, while also frowning upon laziness and leeching off others. But see the movie and judge for yourself. I personally consider great films as the ones where I leave the theater with a better understanding of human nature, or a desire to improve the world by even a little bit. Eastwood's latest more than succeeds on those counts.

Former teacher Jack Torrance (Nicholson) takes a job as the winter caretaker of a huge, isolated mountain hotel. He and his wife, Wendy (Duvall), and son Danny (Lloyd) are left alone in the place we soon learn to be haunted.

In 1980 Stanley Kubrick released his critically panned "The Shining" upon a very confused audience, most of whom found it too long, too slow and too hard to understand. Today the film is rightly considered one of the masterpieces of cinema, and the dialogue and imagery have become ingrained in popular culture. Jack Nicholson's showboating performance as the insance Torrance, at the time considered too over-the-top, is now his best known and beloved role. He chews his way through the countless scenes of twitching hysteria with such a demonic dedication it's impossible to take your eyes off him.

The remote and overbearing Overlook Hotel (casually established as being built on an Indian burial mound) takes on the second most potent personality of the film. The endless corridors weaving like arteries around the upper floors feel as if they could conceal any number of horrors (and do) while the gigantic halls have an eerie look to them, as if they remember the past horrors and anticipate their repetition. Without question one of the scariest films ever made, there are few sudden shocks, very little direct violence, and no deaths until the last ten munutes. But the audience must withstand a huge amount of creeping psychological pressure brought on by a combination of qualities, any of which on its own would make the film a must-see - the performances, the smoothly hypnotic camera work, and particularly the disorienting dips into Jack's broken mind as he chats with a former caretaker or wanders through a huge ballroom filled with dancers.

Perhaps the most powerful quality is the film's totally unique nature. There is no reference in cinema, nothing even similar exists, so there's no way to predict what might happen next.