it's a good movie, but scared the living daylights out of me when I was six years old, when it first came out, it was the trailer for it that terrified me. Never saw the movie until I was in my teens lol

So bad it's good? Nope, not in my book, just a bad 70s horror movie with an incredibly intrusive score. John P. Ryan, who was so good in Runaway Train, is about as emotive as a log in this one.

Neat premise, but this movie gets old real fast. A lot of the editing is very poorly done.

Too ridiculous and self serious to be taken seriously.

There are lots of movies about kids that grow up bad (e.g. The Omen) or get taken over by something bad (e.g. The Exorcist) but Cohen had the revolutionary idea to make a film about a newborn baby who was bad from birth. Straight from the womb to the killing fields. We all have a savage, cannibalistic baby buried in our unconscious. This is why we're scared of small things – mice, grasshoppers, cockroaches. And Cohen's genius was to take the smallest, most innocent being we know, a tiny baby, and make him the monster from our id. My complete review is at https://thecannibalguy.com/2022/05/22/cannibal-baby-its-alive-larry-cohen-1974/

Solidly weird, sometimes suspenseful and a great score. 70s schlocky horror fun

It's Alive is a unique and bizarre movie. It feels like the type of production my friends and I would have made if one of us had a creepy puppet, but with a larger budget. Throughout the film I was constantly amazed by how nonchalant everyone was about the fact that a demon baby had been born. And I would have enjoyed the campiness of it all, but it took forever for anything to happen. It's Alive needed a little more time in the oven.

With a movie about a murderous mutant baby, I expected good cheese and I got it in surprisingly small doses. The bulk of the movie was well made, well acted, intelligent and genuinely creepy.

I saw this a long time ago, and I remember being terrified and impressed. It's not just a creature feature. I remember it making pertinent statements and having real pathos.

It's amazing that such a low budget production could afford to pay Bernard Herrmann to do the music score. It's too bad there wasn't enough money left over to pay for a decent cinematographer, writer, or editor. Despite its obvious shortcomings, It's Alive has to be given some credit for sheer audacity. For the uninitiated, it's the story of a newborn baby, replete with fangs, claws, colic, and a bad attitude, who goes on a killing spree, including the slaughter of the doctors and nurses in the delivery room. All of the characters are uber cool and seem to take things in stride, including the demon baby's father, who goes to work a few hours after the birth/mass killing. Ignore the obvious leaps in logic and watch this to honor those who had the balls to commit this to celluloid.

With a very effective score from Bernard Herrmann, It's Alive is a cool little horror film. Yes, the acting is stilted in places, but I loved this flick back in the day. Rick Baker's "mutant baby" provided quite a few unsettling moments and genuine scares. I still like it better than the remake.

My goodness composer Bernard Hermann was brilliant. He elevates screenwriter/director Larry Cohen's ho-hum demon child tale into something that feels deeper than it really is.

John Ryan is really pretty good in this deftly handled little horror flick. Larry Cohen wrote and directed this monstrous little diddy and then wrote and directed the sequel, It Lives Again. The newborn baby registers his first kill about five seconds after being born and, well, let's just say this is a win for genetics over environment in the age-old argument.

An amazing shocking horror film by the great Independent filmmaker Larry Cohen to build up fear and suspense about having a unborn child and parents giving nightmares.

The absolute single worst horror movie ever. It's worth watching, but only if you're in altered state of consciousness and ready to laugh.

Other than the mutant baby design itself, just not that bad of a movie. Better than I anticipated.

It speaks to the enduring anxiety produced by the Oedipal relationship that the film is no less eerie for being satirical, filled with a slow-burning sense of terror and humor in equal measure. Yet whatever the natural absurdity of the supernatural circumstances on display, the feelings of unease and uncertainty that imbue the film are given weight by Herrmann's sublime score while being grounded by a set of performances that never admit to the insanity of everything around them, because both comedy and horror are best told with a straight face.

Interesante obra de culto de género de la mano de una de las figuras más interesantes del cine: Larry Cohen. Y por supuesto con la magistral música de una grande como es Bernard Hermann. Escuchad nuestro episodio dedicado a ella: https://www.ivoox.com/terror-no-tiene-podcast-episodio-53-audios-mp3_rf_28987381_1.html

What appears to be another 70's schlock creature feature on the surface is actually much more. Beyond the blood and guts there are some very real human terrors at large here.

a killer baby, its so stupid