I don't fully agree either. I agree that the reason the rule exists is to avoid spacial dislocation and, crucially, so that we always know who is looking at who. Notably the scenes mentioned here are all two-handers – it's easier to break the rule in this situation because we usually have a pretty clear idea of who is looking at who: there's only one other person they can be looking at. The scene from 'The Shining' is a case in point, while it clearly flouts the rule, it only does so with two-shots. These two-shots instantly answer the question of who is looking at who. When we're on singles the rule is observed, so you don't get that awkward thing where both characters are looking in one direction and appear to be addressing a third party.
Where the rule really becomes crucial, and more complex, is in scenes with 3 or more characters. Break it at your peril when shooting a dinner party!
As for having the camera crossing the line in shot, as per the 'Requiem' clip, I don't really see this as a rule break, it's simply a way of establishing a new line, often simply for a bit of visual variety (it allows us to see the other side of the room). It can be used for more creative purposes and it's best done at a moment in the scene where things change, but I wouldn't say that the effect is jarring.
All this being said, there's a lot I do agree with and I'm glad that we've not entirely forgotten the rules of visual grammar (bendable though they may be).