a list that is trying to contain every horror film made that is not lost and is found on the…
There's only one thing wrong with the Davis baby....
Heavily pregnant Lenore Davis tells her husband, Frank, that she is in labor. They leave their eleven year-old son Chris with their friend Charley and they head to the Community Hospital. Lenore feels that something is wrong and delivers a monster that kills the team in the delivery room and escapes through a skylight. Lieutenant Perkins comes to the hospital to investigate the murder and the press divulges the identity of the parents. Frank discovers a dark secret about Lenore and the baby.
I probably laughed way harder than I should have when the army of cops converge on a suburban California home simply to arrest an innocent baby sitting on a blanket in the grass.
How about that Bernard Hermann score, huh? Certainly the classiness of the soundtrack overshadows the grit of the content. Despite the poster's promise of horror, It's Alive is probably read better as a family drama about the questionable virility of the American Man.
There's an illustrative moment near the beginning when four would-be fathers are lounging in the waiting room of the hospital. They speak of their jobs, they speak of pollution, they speak of anger and love. There's enough clues in this important scene to indicate…
Mae Young once gave birth to a hand so this was nothing
It appears Bernard Herrmann was not above B-level material when it came to choosing films to score. His final years were music on two DePalma films, Taxi Driver and Larry Cohen's It's Alive. Evidence also reveals a sense of humor in the master maestro when he titled the musical cue where the milkman meets his maker as "The Milkman Goeth". The film is short and feels long but Larry Cohen was still the frickin' man at injecting black, absurdist humor inside his horror films. I hear the sequels are buried for a reason but that they are off-the-wall zany so I will approach with both caution and excitement.
Cada día me gusta más Larry Cohen y me pregunto por qué no soy un admirador más devoto. Me parece un escritor super económico, con un perfecto sentido del humor. Y como director es super puntual y filoso. Para muestra en It's Alive, la redada de los policías al bebé en el jardín. Genio.
Y como bien señala @danote en su reseña, It's Alive pertenece a esa tradición del horror basado en la paternidad. Pero a diferencia de él, yo creo que sí aporta algo nuevo al discurso. Creo que Cohen deletrea la metáfora en la escena en la que Frank es despedido por su jefe. It's Alive es sobre los horrores de lidiar con un hijo…
I had no idea what this was about going into it.
The title made me think it was some riff or adaptation of Frankenstein.
I had no idea I was walking into a movie about a 10lb killer mutant baby that's more in line with Rosemary's Baby or We Need To Talk About Kevin.
And yet it still fits with some major themes of Frankenstein. Plus it's genuinely creepy, suspenseful, and kind of terrifying. Terrifically written and acted too.
This movie is fucking awesome!
Cinema Horrorama #93
Será que la vi a una edad más o menos en el rango “ya deberías pensar en tener hijos”, y tal vez por eso me angustió muchísimo. Me la pasé mal con todo el inicio, en el que Cohen dirige muy bien una realidad aparentemente segura, pero con una sensación que nos dice que algo tiene que salir mal. No porque sepamos que estamos viendo una película de espantajos mutantes, sino que la tensión que el director crea desde que la pareja sale al hospital es tremendamente angustiante. La tranquilidad es demasiado sospechosa. En cualquier otra película veríamos a la mujer sufriendo las contracciones, al esposo buscando las llaves del coche con medio pantalón en las piernas,…
Cohen’s films often feel a little disciplinary for their premises, but there are a lot of great moments here highlighting the way men overcompensate and distance themselves with ineffectual conversation and testosterone – even if this is predominantly comprised of those moments. he appears to have some fascination with the foibles of the system, focusing on archetypal white men who become existentially baffled when faced with forces who create a path of terror that, considering the force itself is impossible to blame, leads back to the irresponsible man. one of Cohen’s quietest executions of one of his loudest premises, which can be occasionally grating, but this is a clear and intermittently emotional portrait of the fears of being responsible for a living creature you are not nearly responsible enough to raise & protect becoming a reality as soon as it exits the womb.
just finished the first film and it was really great. It was a little slow going at first by it`s really effective especially the last 30mins. 3.5/5 stars
El monstruo de la película me parece uno de los personajes más originales de la historia. Un bebé recién nacido con colmillos en vez de dientes y garras en vez de manos, con apariciones perfectamente contadas que juegan brillantemente con la imaginación.
Un asesino que, en una sola escena, mata a varias personas dejando viva únicamente a su madre. Un detalle que puede pasar desapercibido al principio, pero que toma extrema relevancia conforme se descubre la naturaleza del monstruo.
Los movimientos de cámara para mostrar la perspectiva del bebé en el piso y los jardines por donde transita, me encantaron. Las actuaciones de sus protagonistas (John P. Ryan y Sharon Farrell) son sublimes. Sobre todo la de John P Rayan…
Von der Grundidee natürlich hanebüchener Firlefanz. Was Cohen daraus macht, ist jedoch Extraklasse. John P. Ryan spielt den Mutanten-Daddy mit ständig unter Strom stehender Verve, dass man jubelnd durchs Zimmer stolzieren will. Die Spannung ist dauerhaft auf dem Siedepunkt. Das absolute Sahnehäubchen ist aber der hitchcocksche Bernard Herrmann-Score. Ich hab den Film 35 Jahre ungesehen vor mir hergetrieben. GROSSER Fehler !!
Ah, the joys of parenthood…
Frank (John P. Ryan) and Lenore Davies (Sharon Farrell) are expecting their second child. Lenore goes into labour and they head off to the hospital, but during the labour pains, Lenore starts feeling that something’s not quite right. During the birth, the freakishly large child, comes out lashing, tearing it’s way through the deliver team killing them all before escaping through a vent in the celling. The couple are sent home, as their baby stalks the countryside attacking and killing along the way, because all Baby want’s is to be home with mom and dad!
What you get here is a heavy piece where parental instincts clash with survival instincts and two parents struggle to…
I gave this movie a shot because it's considered a cult classic among some fans of 1970s horror. It's certainly one of Larry Cohen's better movies, which, I admit, is not saying much. And the score is, inexplicably, by none other than the great Bernard Hermann, of Hitchcock movie fame. That fact classes this movie up a bit, but make no mistake about it: it's a B-movie in every other respect.
It starts off quite badly, with the deadly combination of very slow pace, mostly bad acting, and many plot holes. It picks up quite a bit in the last third, with decent suspense and a couple of interesting plot twists. All in all, the viewer is rewarded with some…
So this is where Spielberg learned the "hide your less-than-stellar creature effects by showing everything from the creature's point of view" trick that he used in Jaws.
Mama's little baby loves murderin', murderin', mama's little baby loves murderin' folks
This would pair well with Rosemary's Baby.
Kind of a chore to get through. If the performances weren't so buttoned-down it could've covered up a lot of flaws; as is the case for most Larry Cohen flicks. What I wouldn't give to have had Michael Moriarty play the part of the dad. The baby is pretty creepy, the couple of times he shows up.
Including numbers so I can mark off where I am and where I plan to eventually go. I'm 18 in…