The mutant babies have been placed by court order on a deserted island. Appalled by the cycnicism and exploitation of the children by the legal system and the media, the man responsible for... See full summary »
NYPD detectives Shepard and Powell are working on a bizarre case of a ritualistic Aztec murder. Meanwhile, something big is attacking people of New York and only greedy small time crook Jimmy Quinn knows where its lair is.
A comic-book artist meets a woman on the NY streets, but after a quick flirtation, she suddenly collapses, and is picked-up by an old ambulance. He checks all the hospitals in the area, but the woman seems to have disappeared.
James Earl Jones,
A delicious, mysterious goo that oozes from the earth is marketed as the newest dessert sensation, but the tasty treat rots more than teeth when zombie-like snackers who only want to consume more of the strange substance at any cost begin infesting the world.
Kathleen Lloyd, Frederic Forrest and (original It's Alive actor) John P. Ryan were all in the quirky Western action/comedy The Missouri Breaks the previous year. See more »
The man who gives Jody the instructions for the pick up, tells her to go to the movies and go out fifteen minutes after the beginning. When she gets out, we can see that the movie ('Enter the Dragon') is running almost at the final sequences. See more »
There's a magic about the IT'S ALIVE films I love them and can't understand why people hate them
It's Alive epitomizes the realization of the perennial fears: this could really happen and the (Frankenstien-esqe) ideal of setting something in motion that cannot be controlled or committing an act that you cannot repeal or take back. The First Its alive is truly an epic, we have Davis wanting to kill his monster-baby and evolving to the point of wanting to protect it--an adroit display of humanism. It Lives Again multiplies the fears of the first film exponentially by 3 (there are three babies) and the motives of the main characters evolve as well.
Part 3 still manages to pull on my heart-strings yet its tired-feeling. I look beyond the technical deficiencies of all three films and am captivated my their magic. Somehow fans allow themselves to watch King Kong 1933, Phantom of the Opera 1925, The Lost World 1925, and Niosferatu 1922 and three of these films don't have sound and all are shot in black and white and King Kong's effects are far out-dated. We have to look beyond a lot of things to really, to be carried away . . . too often our expectations are too high and we're not humbled in our approach to these genre pictures. A lot of us don't go to church because we feel its boring because there's nothing there . . . same with the movies . . . we have to allow ourselves to feel sometimes what's really there in order to love the films.
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