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It's Alive

It's Alive

Horror · Science Fiction · 1974

The Davises are expecting a baby, which turns out to be a monster with a nasty habit of killing people whenever scared. And it's easily scared.

Movie details

It's Alive

“There's only one thing wrong with the Davis baby...”

1974 Horror · Science Fiction 1h 31m

Critical arithmetic

One number, for now.

TMDB

6.0 / 10

Community rating

The Davises are expecting a baby, which turns out to be a monster with a nasty habit of killing people whenever scared. And it's easily scared.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over It's Alive?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Annabelle Comes Home

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Determined to keep Annabelle from wreaking more havoc, demonologists Ed and Lorraine Warren bring the possessed doll to the locked artifacts room in their home, placing her “safely” behind sacred glass and enlisting a priest’s holy blessing. But an unholy night of horror awaits as Annabelle awakens the evil spirits in the room, who all set their sights on a new target—the Warrens' ten-year-old daughter, Judy, and her friends.

Bed Rest

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Where it lives

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Names above the title

The people responsible.

Directed by

Larry Cohen

Written by

Larry Cohen

John P. Ryan

John P. Ryan

Frank Davis

Sharon Farrell

Sharon Farrell

Lenore Davis

Andrew Duggan

Andrew Duggan

The Professor

Guy Stockwell

Guy Stockwell

Bob Clayton

James Dixon

James Dixon

Lt. Perkins

Michael Ansara

Michael Ansara

The Captain

Robert Emhardt

Robert Emhardt

The Executive

Court is in session

Put It's Alive on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.