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Fulci makes another GOOD horror movie.
"Manhattan Baby" sure is one controversial Fulci flick. I have friends who love the man and hate this movie. I also have friends who don't know the man at all and love this movie.

The plot is a bit silly. A girl is given a trinket on vacation in Egypt and it turns out to contain horrific powers of destruction. I told you it was silly.

The special effects are very 1982. But wait; this movie was made in 1982. I'd recommend this to someone who has never seen a Fulci film and is not expecting to see "Zombie" or "The Beyond" again. This movie offers something different and something that I, a true Fulci admirer, appreciate and can watch over and over.

Yes, I like "Manhattan Baby." While it's not like the aforementioned Fulci greats, it remains entertaining and it does deliver some good scares. And decent gore.

7 out of 10, kids.
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Manhattan Baby
Scarecrow-881 May 2008
Warning: Spoilers
Do you ever, after sitting through the viewing experience of a film, ask yourself, "What the f-k did I just watch?!" Well, I can relate after watching this mind-boggling Fulci effort, replete with bizarre images and unusual death sequences. A little girl named Susie(Brigitta Boccoli)is visiting Egypt with her archaeologist father, Professor George Hacker(Christopher Connelly)and mother Emily(Martha Taylor)when a spooky native, with absence of eye color, places in her hand an amulet with this blue eye that is like a gateway of evil which can send the wearer through the unexplored realms of time and space. Yep, sweet, innocent little Susie has been chosen as the portal for "evil eye" to inflict death and destruction to those within her path. Her father decides, of course, to explore an Egyptian tomb, despite warnings from the locals that it contains a curse, unaware that he would trigger a room that opens the evil eye around Susie's neck with only terror awaiting. Returning to Manhattan, those near Susie find themselves in grave danger and somehow she must remove the evil using her as a method of travel. George, blinded by blue laser blasts which shot from a cryptic symbol in a secret chamber room of the tomb he entered in Egypt, will enlist the aid of a mysterious antiques dealer, Adrian Mercato(Cosimo Cinieri)who might have knowledge as to how to save his little girl before whatever the evil is kills her.

I must say that I was quite impressed with how Fulci uses Egypt in the opening of the film. From what I understand the producers desired this, and I side with them, but Fulci seems hard-pressed in his directorial efforts to use what he had in place with the amulet and it's evil possession of a little girl, creating quite a baffling supernatural horror flick seemingly treading similar terrain in films such as "The Exorcist" & "Rosemary's Baby". The film, in my mind, is a collection of bewildering supernatural occurrences. The amulet actually opens a doorway which sends one poor soul, a clown who works at a newspaper with Emily, from the Manhattan apartment to Egypt! One strange sequence has Susie's brother Tommy(Giovanni Frezza, whose dubbing never ceases to make me cringe)entering a metaphysical doorway of some sort, with cries for help to his blind father on a mirror going unanswered. He later informs his parents that he has taken a journey, with someone from another realm actually giving him an artifact across a riverbank. There's a photo taken of Susie, by her baby-sitter Jamie Lee(Cinzia de Ponti), which only displays the ominous amulet worn around her neck. George later gives the photograph to a colleague of his, whose well versed in the mythology and history of Egypt..studying it one night in the library, he's attacked by a cobra and the photo vanishes, returning to Susie's hand! There's an amusing death sequence to a security guard in an elevator. There's a weird discovery of what exactly happened to Jamie Lee..blood collects on the Hackers' wall with a corpse's hand exploding through. The bird attack on Mercato at the end is quite a loony highlight. I found the use of blue light quite exhilarating. and Fulci's camera-work, despite the crazy plot(s), is as effective as ever(..even if he has a love-affair with the zoom lens). The scene towards the end, where Mercato attempts a transference where the evil would move from Susie's body into his, as she lies in a hospital in a worsening state, is quite a sight to behold..I particularly found the unusual fluctuating heart murmuring amusing. Nothing can quite top the Egyptian sand found in Susie's bedroom! Not to mention the scorpion, in a glass container, which appears when Susie opens her desk drawer. Or, the X-ray, taken from Susie in the hopes of finding out what is causing her "sickness", revealing the image of a cobra!

I can't say this is one of Fulci's better efforts, because it is such a mess..many often embrace such incoherency if the director splatters the screen with ridiculous gore, but "Manhattan Baby" lacks this. All you really have is lunacy in abundance, with little sense to make of it all.
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Fulci Baby!
thefountainmenace11 September 2002
Hey - it's 1980 and Mr. Fulci wishes to do something 'not so horror'. So he created this tale about an Egyptian amulet which brings terrible tragedy to a New York family. I've seen about 15 of these Italian post-giallo horrors now from Fulci, Bava and of course, Argento. I found this one to be relatively well-dubbed and paced. In other words, the pace wasn't infintessimal and the actors didn't break from Italian into dubbed English and vice versa. For all I know, this was recorded in English given its title. Anyway, the two children in the film are strikingly eerie, remniscent of Village of the Damned's little miscreants, though the boy's voice seems very off (the only exception to my comment about the dubbing)- check out his first few lines in the park in "Manhattan"! Hilarious! The plot, while somewhat draggy as all of these films are (other societies don't demand a new scene every 2.5 minutes and either dialogue or action at all times it seems), it's not that slow. Of course these films are often watched for the unflinching depictions of gore that Italians are not afraid to deliver, and while the violence is a bit more subtle in this one than most, there are three scenes which will satisfy this type of viewer. Ultimately, this film's worst trait is its attempt at more 'psychological' horror in my opinion. However, it is not bad - as long as you are used to these Italians and their significantly different motivations and backgrounds from American directors. Oh, and as you might expect from Fulci, the cinematography is spellbinding at times.
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Beautifully shot....Great score.
Bub_the_zombie24 May 2007
Manhattan Baby is Fulci's dive into beautiful imagery. There's some scenes in this one that are genuinely breathtaking.

A medallion from an archaeological dig leaves a man blind. And a family falls into jeopardy after their son disappears into thin air, and their daughter is possessed by an ancient demon.

If the budget hadn't been cut for the film, I would imagine that this would be Fulci's most memorable film. People would think 'Manhattan Baby' instead of 'Zombie' when they heard the name Lucio Fulci.

Most horror fans haven't seen this one. It's true that MB isn't a film that succumbs to everyone's tastes. This is simply because in most Italian films, it's usually style over substance, which in some cases can leave an unseasoned viewer in total awe at the apparent inept plot line before them.

In Italian films (especially), you have to pay very close attention to the whole film. Certain plot definers aren't given 'camera-attention' at crucial times at any given time through any given film. in American films, the camera tells the story. The same can be said for Italian cinema, but a lot of times, it's much more subtle in its delivery and can leave one feeling incomplete until they eventually see it again.

Anyway, should you watch Manhattan Baby? Sure. I'll recommend it. It's a beautifully shot film with hardly any of that Fulci gore we all expected. It also has a great Gothic score that adds tons of surrealistic atmosphere that pulls you in for the most part.

Not a film for everyone, but the guru's of the cinema world will find a lot of redeeming qualities to talk about.
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Half hearted, but still interesting
AS-6930 July 2001
"Manhattan baby" is another supernatural horror movie shot during the Maestro's most prolific period.

The movie being accorded only a fraction of the planned budget, it never had the chance to become what its makers probably intended.

Still it contains some beautiful surrealistic and atmospheric scenes which are worth watching. The opening scene in Egypt is just marvelous and keeps up with Fulci's best work. After the Hacker family returns to New York, the little daughter experiences contact with evil through the amulet she got in Egypt. This allows Fulci to devise the movie like "The Gates of Hell" or "The Beyond", meaning as a succession of loosely related scenes depicting strange occurences. Some of those scenes are interesting, such as the snake attack and the blood stains on the wall, announcing the return of "poor Jamie Lee". Others are ridiculous, like Adrian Mercato winding in spasms on the ground. The final attack by stuffed birds is spoiled by the visibility of the wires (in good tradition of other phony attacks by animals).

Although the overall result of "Manhattan Baby" is not as convincing and terrifying as Fulci's previous flics, it still belongs to his strong period in horror film making and is therefore recommended to everyone who likes Fulci's style not just for the sake of gore (as "Manhattan Baby" contains only few).
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Eerie, underrated Fulci thriller
squeezebox17 January 2008
Warning: Spoilers
Lucio Fulci's MANHATTAN BABY isn't a great movie. As is often the case with Fulci's pictures, the acting is wooden and the pace a little slow. But Fulci chooses this time around to de-emphasize the over-the-top gore for which he was infamous and concentrate on atmosphere with generally successful results.

An archaeologist is in Egypt doing research. He has brought his wife and daughter along with him on his journey, and they spend their time wandering around the ruins while he digs up ancient artifacts. After falling into a secret tomb (resulting in the impalement death of his guide in one of the movie's few moments of on screen gore), he is rendered blind by a ray of light that comes from a jewel embedded in the wall.

Meanwhile, his daughter meets a mysterious old woman who gives her a jewel studded amulet before disappearing into thin air. Back in New York, the girl starts becoming ill and having nightmarish visions. Her creepy little brother seems to take this all in stride, as he himself has had out-of-body experiences which he always thought were just a part of life. It is implied that the reason the girl was chosen as a recipient of the amulet is her and her brother's "sensitivity." Doctors are at a loss as to what is wrong with the girl. Finally, an exorcist explains that she is under the influence of an evil Egyptian demon who has not yet possessed her, but is trying to. He agrees to exorcise the demon from the girl by bringing it into himself, but unlike Father Karras in THE EXORCIST, he may have less than righteous motives for doing so. Unfortunately for him, the demon isn't about to lend itself for his own selfish use and brings his stuffed bird collection to life which tears him to shreds.

While there are obvious nods to THE EXORCIST and ROSEMARY'S BABY (the exorcist's name is Adrian Mercato), the movie never really becomes a rip-off, as it takes the borrowed aspects of those previous movies in unexpected directions. There are some ambitious metaphysical plot twists which unfortunately suffer from limited special effects capabilities, a few of which are similar to better-executed sequences in POLTERGEIST (though the movies were released almost simultaneously).

The stuffed bird attack at the finale is the movie's gore highlight, and while many viewers have complained about the phoniness of the birds in the scene, I think the sequence works in a surreal, nightmarish way. I love THE BEYOND, but the pipe-cleaner spiders looked ridiculous. Here, the obvious artificiality of the birds makes them that much more creepy.

Overall, MANHATTAN BABY is worth a look. I can't bring myself to give it more than a 6 out of 10, but fans of Fulci's work might be interested to see him show off his flair for atmosphere and style instead of gut-munching and eyeball-popping.
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Strangely, one of my favorites...
jtk5731 March 2007
We selected "Manhattan Baby" from the movie library last night, and I realized that it was to be probably the 7th time I have watched this rather uncelebrated Fulci offering in the past 5 years. Yes, this movie is a bit formulaic, and yes, it does move a bit slow in parts. But there is something undeniably menacing in this movie, an atmosphere of claustrophobia, the tightness of the endless close-ups of people's faces, that I enjoy and (obviously) come back to again and again. No, this is not a gory movie, which no doubt comes as a surprise (disappointment?) to fans of Fulci's other (mostly excellent) films. Even the death scenes, of which there are only 3 or 4, have minimal blood compared to something like "The Beyond", not that I would recommend this as hearty family fare by any means. But if you enjoy the uniquely "European" dreamlike atmosphere created by a combination of cheesy effects, plot holes, wooden acting, bad dubbing, and inexplicable motivations of characters, this may be one you revisit again, and again and again... you get the idea.
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Good for some appreciative chuckles.
Scott LeBrun9 April 2017
Lucio Fulci dips his toes into the supernatural horror genre with fair results, in this mostly NYC set genre flick. Christopher Connelly ('Peyton Place', "Benji", "1990: The Bronx Warriors") stars as George Hacker, an archaeologist examining some ruins in Egypt. Gee, do you think he'll come to regret this decision? As it so happens, an ancient evil spirit is now free, and it comes to roost inside his adorable daughter Susie (Brigitta Boccoli). George must unravel the mystery of a strange gem and decipher the message left on a photo given to his wife Emily (Laura Lenzi).

It's not that surprising to learn that Fulci was left with a budget far less than what he had been promised. In the end, the film is certainly watchable enough, but has very little in it that's all that memorable. Fulci delivers gore only in small bits and pieces until the gloriously sadistic ending. Until then, we see some mildly amusing paranormal occurrences, which involve such people as the couples' au pair Jamie Lee (Cinzia de Ponti) and Emily's wacky co- worker Luke (Carlo De Mejo). The opening sequence in Egypt is pretty good and atmospheric. One of the most enjoyable components is the typically eclectic music score by Fabio Frizzi. The makeup effects are quite effective.

The performances don't knock your socks off, but they get the job done. Connelly, whose character is stricken blind for a while, rarely changes his facial expression all that much. Lovely ladies de Ponti and Lenzi are quite easy to watch. Boccoli does a decent job for a child actress. Giovanni Frezza (Bob!) co-stars as her smart mouthed brother, and Fulci has his customary cameo as a doctor in the final portion of the picture. Cosimo Cinieri has a good look as a stranger who lends some valuable assistance.

This is good fun for Fulci fans, but overall isn't anything really special.

Six out of 10.
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"Susie always screams before she goes on a journey"
Bezenby2 July 2009
So, what's the worst Fulci film you've sat through? Is it Sweet House of Horrors? Well, that had some gore in it at least. Or it Aenigma? That one had some women in the scud, and a picture stabbing itself. Or is it Conquest? Well, I reckon that one is a classic myself, because it's got drug snorting werewolf men in it.

Nope, for me it's Manhattan Baby. I've sat through 14 of his films now, and even his later period films like the deranged Cat in the Brain are more entertaining than this. It's taken me three viewings to get a handle on what story there is, and it does have some positive aspects, but Fulci completely fumbles the ball on this film.

It starts off really well, in Egypt, where Christopher Connelly is doing some sort of dig into an ancient tomb. His wife and daughter, meanwhile, almost immediately fall into Fulci's nightmare world, when a blind (like the Beyond) woman hands the kid an amulet. Connelly, on the other hand, breaks into the tomb only to get his guide killed and himself blinded by purple laser beams (eh?).

This is all atmospherically done, but the moment the family return to New York, the film slips its moorings. Strange things begin to happen, like Tommy, Connelly's son, walking into a cupboard filled with light. But it's okay, because a few scenes later he's back, and nobody really cares anyway.

That's the main problem with this film. Fulci goes for the same disjointed series of scares that worked so well in The Beyond, but here manages to completely arse up just about every scene but making it either too inexplicable, too tame, or just too stupid. Sometimes the kids are terrified by what's happening, and yet other times they think it's some sort of game. Plus, there's almost no linking between the scenes whatsoever, no attempt to let the audience in on what's happening, until that last twenty minutes, and by that time I swear you'll be beyond caring. The final insult is that the ending is as lame as a one-legged donkey.

There are some positive aspects to this film that raise the rating slightly. The cinematography is uniformly excellent, the Egyptian scene is a great way to start the film, and there's a couple of scenes that do genuinely work, like the Psychic rolling about on the floor, screaming in Connelly's daughter's voice.

I'd love to know if this was the film that Fulci intended, because I don't reckon it is. There's too many hints that something went badly wrong in production, like the disjointed story or the recycled soundtrack (from the Beyond).

Only to be viewed as a person familiar with Fulci's work. I'd hate to see some unsuspecting horror fan's reaction to this mess.
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It should have been called "How to Make a Movie with an Incoherent Plot"
bensonmum226 November 2005
Warning: Spoilers
Lucio Fulci made some real stinkers in his career and Manhattan Baby comes close to being the worst. The problem is the incoherent plot that I'm not even going to attempt to explain. The plot centers around an Egyptian amulet with evil powers. The evil powers manifest themselves in a series of totally unrelated events. In fact, almost every event in Manhattan Baby is completely unrelated to what came before or what is yet to come. Fulci and screenwriter Dardano Sacchetti had some wonderful ideas, but there is nothing holding these ideas together. As a series of standalone set-pieces, Manhattan Baby isn't that bad. But trying to make sense out of a plot that's all over the place can give you quite a headache.

It's too bad. The movie gets off to a good start with some nice looking and mysterious Egyptian scenes. But don't let that fool you. Once the movie gets back to New York, things fall apart.

As I wrote previously, there are some good set-pieces in Manhattan Baby. Among the highlights – the tomb exploration, the opening of the children's door by a friend of the mother, and the final bird attack. As I've said before though, a few good set-pieces cannot save a movie.
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Lucio is aiming for the eyes again!
Coventry6 November 2006
Lucio Fulci was a great filmmaker and unquestionably one of the most essential & influential horror directors that ever lived; still not all his movies are masterpieces. This one could be considered as one of his weaker efforts, especially because it got released amidst his most notorious achievements like "The Beyond", "City of the Living Dead" and "New York Ripper". "Manhattan Baby" is slightly more ambitious than we're used to see of Fulci and I'm not quite convinced whether that's a positive change. There are no hideous zombies or sexually perverted killers in this script, only supernatural types of malice and they're not exactly strongest trumps. During a research vacation in Egypt, a New York archaeologist is blinded inside a pyramid whilst a local witch gives his daughter an uncanny medallion. Back in the States, George's blindness only appears to be temporary but the medallion and its evil powers are there to stay! The evil spirit of an ancient Egyptian deity possesses his two children and suddenly there are doors leading to other dimensions, people vanishing inside elevators and ferocious scorpions crawling out of bedside drawers. The plot is incoherent as hell and makes absolutely no sense, like it's some sort of supernatural puzzle nobody expects you to solve. Oh well, senseless or not, Fulci still takes the time to implement his favorite trademarks, like loads of eyeball-terror for example! The very first character to die has his face impaled on stakes, the good old-fashioned Lucio Fulci way! The gory bits, along with the music are the only worthwhile elements in the entire movie. "Manhattan Baby" is slow-paced, poorly edited and just way too confusing.
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So-so horror film from cult director Lucio Fulci.
HumanoidOfFlesh10 December 2001
Lucio Fulci-many horror fans admire his work,I am also among them.However "Manhattan Baby" is one of his weaker efforts.First of all,the script by Dardano Sacchetti and Elisa Livia Briganti is very confusing.It borrows from "Rosemary's Baby","The Awakening","The Exorcist" and even "The Birds".The film is about a girl who,while in Egypt with her archaeologist father,is given an amulet that causes her to be possessed by the spirit of an ancient Pharaohess.There are some atmospheric shots,but the gore is almost completely absent(apart from the scene when the stuffed birds attack Adrian Marcato,rending his flesh as he dies screaming).Anyway if you're a huge Fulci fan like me you should watch this film,if not don't bother.
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Hard to follow but worth the watch
JM-229 December 1998
This film IS very hard to follow, but easily worth the watch. Has the usual Fulci touches... gore, atmosphere, and even those cool cemented eye contact lense things that he used in The Beyond. The score is another classic by the genius Fabio Frizzi that perfectly sets the mood for the film.
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Not Fulci's Greatest, But Certainly Not His Worst!
Matthew Janovic12 February 2006
This is another film that gets down-graded unfairly because of the popular films such as "The Beyond", "Zombi" and "City of the Living Dead". Gorehounds expect--naturally--the same gore-levels as these films, which is also unfair. Besides, it's better to watch a film with no-expectations whatsoever. That-said, "Manhattan Baby" is a unique film for Lucio Fulci, and bears some resemblance to "The Awakening" and even "Rosemary's Baby" (hence-the-title?). The production was troubled by producer-interference in plot-elements, and then a reduction of the budget by 3/4's, dropping it to a cost of $300,000. That Fulci was able to rescue his and co-writer Dardano Sachetti's original-core is amazing, and the film still bears the mark of both creators in a good-sense. There is the continued-theme of the supernatural, and an unsettling-sense that normal "cause-and-effect" has been undermined by the unknown. This is a crucial-link between films such-as "The Beyond" or "City of the Living Dead", but the horror is not metaphysical, but isolated to one-family (then-another...). Much of Fabio Fabrizzi's score is recycled from the "opus" Fulci-films, and there are some new-additions, such as the title-theme which is really seductive and lush. What really throws most Fulci-fans off with this film is the combination of ancient-technology and the supernatural--it is extremely-unique, and I can only recall "Stargate" picking-the-up in later-years. But, I think Fulci explores this concept the best, and even transcends obvious-possibilities. Yes, the children of the archaeologist discover a portal to another-dimension, but it is almost an afterthought beside all the other narrative-subplots he throws-at-us. There actually is a lot of gore in this film! One scene stands-out: the attack of an Occultist by his own stuffed-birds, and boy is it nasty. And so, this is not really a film that can be called purely "horror", nor purely "science-fiction", etc. . It's my guess this is why so-many Fulci-fans and others don't like it--it's not easily-described, or understood. Like Fulci's "The Black Cat" (1981), it deserves reassessment and a better-reputation as a solid story of the fantastic. Check the final-scene, it was copied-by Clive Barker for the frame-piece of "Hellraiser" (1986). The Anchor Bay DVD is great. An entertaining, and bizarre film.
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Second rate Fulci with a confusing script and virtually no gore.Unless you're a die-hard obsessive Italian horror fan, give it a miss.
Infofreak15 February 2004
'Manhattan Baby' is second rate Fulci. People who love/hate Fulci's work usually mention two things - his nonsensical plots and his abundance of gore. Unfortunately this movie has plenty of the former and hardly any of the latter, making it pretty dull and hard going viewing for the most part. It was co-written by regular Fulci collaborator Dardano Sacchetti (who also worked with just about every important Italian horror/exploitation director - Mario and Lamberto Bava, Argento, Lenzi, Deodato,etc.) Sacchetti says that the producers slashed the budget at the last minute, which undoubtedly contributed to making this a poorer movie, but it's hard to know who to blame. The script is certainly very muddled so the viewer has to battle to work out just what is going on half the time, and Fulci himself seems to have deliberately left out his trademark gore. There's only really one notable gore sequence towards the climax of the picture, and while it's pretty good, it's a long time coming, and hardly up to the standards set by Fulci's horror masterpiece 'The Beyond'. Fulci's best movie for my money wasn't even horror it's the giallo 'Don't Torture A Duckling'. That movie had virtually no gore or effects but it had an interesting story and some good actors, neither of which 'Manhattan Baby' has. I wouldn't say 'Manhattan Baby' is a complete stinker, as there are a few effective sequences, but it's extremely disappointing overall, and easily the weakest Fulci movie I've seen to date. Unless you're a die-hard obsessive Italian horror fan, give it a miss.
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My favourite Fulci film
pearceduncan15 April 2001
Manhattan Baby is a dreamlike masterpiece. Director Lucio Fulci all but abandoned gore in this movie, instead giving us beautiful visuals, an onieric atmosphere and a story told totally in dream logic.

Fulci's obsession with eyes is well in evidence here, the main difference being that they're generally not being skewered this time around. This movie requires a lot of patience, and isn't one for gorehounds, but if you love Dario Argento's movies and don't mind plot incoherence, you should check this one out.
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It's not his best, but plenty to enjoy
Sam Panico22 October 2017
Reviews call this film one of Fulci's worst films, using phrases like "an impenetrable mess" and "uninspired." Even the liner notes on the Anchor Bay release say that the film "doesn't add up." Woah boy — that would put off anyone else. But me? I'm excited to dig in. Get it? Dig in.

Susie Hacker is in Egypt with her archaeologist father, George (Christopher Connelly, The Norseman, 1990: The Bronx Warriors, the Payton Place TV series), and journalist mother, Emily (Martha Taylor, better known as Laura Lenzi, who was in The Adventures of Hercules II) when a blind woman gives her an amulet. Just as she takes it, her father is blinded while he enters a previously unexplored tomb (but not before he shoots the snake).

They return to New York City, where we meet Susie's younger brother, Tommy (Giovanni Frezza, Bob from House by the Cemetery), who didn't go on the trip, and au pair Jamie Lee (boy, naming a babysitter Jamie Lee is in no way a coincidence, right? She's played by Cinzia de Ponti from New York Ripper). Susie and Tommy have somehow gained supernatural powers from the amulet (Susie could speak telepathically to her mother before she left Egypt). And laser beams blast George's eyes, giving him back his vision.

Check out this brother and sister interaction, Tommy's introduction to the film. Also, if you're wondering why a little boy is dubbed with the voice of a small girl, then you've never watched a Fulci film before.

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Quality Fulci
gavin694219 October 2017
An archaeologist (Christopher Connelly) opens an Egyptian tomb and accidentally releases an evil spirit. His young daughter (Brigitta Boccoli) becomes possessed by the freed entity and, upon arrival back in New York, the gory murders begin.

Dardano Sacchetti collaborated with his wife Elisa Briganti on a script originally titled "The Evil Eye". The film's title was later changed to "Manhattan Baby" which was an attempt to evoke "Rosemary's Baby". Sacchetti described it as "an attempt to do a technological piece. I was attempting to approach themes that were no longer classic or traditionally Gothic. I was trying to bring horror in a different direction." Sacchetti and Briganti were not pleased with the film's finished product, with Sacchetti stating that "when the producers decided to cut three-quarters of the budget, some of the special effects could not be realized, and the film was ultimately very poor." Sacchetti says the extended opening scene in Egypt was added as an afterthought to "give the film an international feel." The film would end the partnership between Lucio Fulci and producer Fabrizio DeAngelis. Fulci disliked the film himself saying he had no choice in making the film as DeAngelis was obsessed with it. Fulci commented that it was "a terrible movie; I'd venture to describe it as one of those setbacks that occur as you go along" Italian horror fans will recognize young Giovanni Frezza, known for "House by the Cemetery" and "Demons". They will also probably disagree with the negative assessment those involved seem to give the film. It is really quite god, and the gore effects are right up there with Fulci's best work. There is one scene that has a high-pitched noise I could do without, but all in all this is an under-appreciated part of the Fulci legacy.
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This movie has atmosphere. The story needed work. Acting is fine. Production is good.
qmtv4 April 2017
Warning: Spoilers
This movie has atmosphere. The story needed work. Acting is fine. Production is good.

Good cinematography, and music will raise the ratings on this. The story needed more work. The acting was good. Fx were good. Great set designs. Take a look at the apartment and the antique shop.

This is a B movie, the rating is a B – for the story, or 6. 7 given for balance.
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schlock horror
ElWormo20 April 2015
If Lucio Fulci could be considered the Ed Wood of Italian cinema, then Manhattan Baby might just be his very own Plan 9 From Outer Space. The film's main strengths - if you want to look at it that way - are its complete ineptness, lack of coherence, inappropriate music and terrible dubbing. If fails to be scary or suspenseful on any level, at times achieving almost 'Airplane!' like moments of silliness, except unintentionally. Although it does drag in places you're never more than about 3 minutes away from an amusingly stupid bit. This movie gets a very bad rap from most critics but compared to some of Fulci's abysmal later work Manhattan Baby scrubs up fairly well in the entertainment department, if nothing else. Worth a look.
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Great Lucio Fulci horror...
MovieGuy0111 October 2009
I really enjoyed seeing Mannhatten Baby which was directed by Lucio Fulci. Whilst On holiday in Egypt with George and Emily Hacker (Christopher Connelly and Martha Taylor), her archaeologist father and journalist mother, a 10-year-old girl called Susie Hacker (Brigitta Boccoli)is approached by a mysterious blind woman, who gives her an amulet with a blue-jewelled eye in the middle of it. after, Not long after her farther George is made blind by a bright piercing blue light when he enters a unexplored tomb. Back in New York, George is told that the loss of his eyesight will only be temporary. Susie begins to act strangely,and her younger brother Tommy (Giovanni Frezza), who stayed behind in New York,is also affected by the amulet. Emily their mother discovers that both of them are appearing and disappearing out of their rooms every day and night.Susie and Tommy have gained supernatural access to doorways. A few days later, George's eyesight returns, and he describes the design on the wall of the tomb he'd entered to a friend called Wiler, he guesses that it may be the Sacred Symbol of the Grand Shadow, a sight of terrible evil.
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A minor, surprisingly restrained effort from Italian splattermaster Lucio Fulci.
capkronos13 July 2003
George Hacker (Christopher Connelly) is an American archeologist in Egypt (where part of this was actually filmed) with his wife (Martha Taylor) and daughter in a creepy EXORCIST/OMEN inspired opening. After acquiring a cursed medallion, he's temporarily blinded by blue light and returns to New York City, where his daughter (Brigitta Boccoli) becomes possessed by an evil spirit. Sand, cobras and scorpions show up in the apartment, characters are transported back to Egypt and, in the only gory part, stuffed birds come to life to peck apart the face of some guy named (insert lame ROSEMARY'S BABY reference here) Adrian Mercato. Some of the camerawork and music is good, but the typically awful dubbing, bad acting and choppy editing detract from the overall effect. Fulci fans will also probably be severely disappointed by the curious lack of blood/gore/violence.

(I have a hunch he was going through that I-want-to-be-respected-as-a-filmmaker phase).

Score: 3 out of 10
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"Manhattan Baby feeds on horror!"
Backlash00731 July 2005
Lucio Fulci, Italian horror giant that he is, has made some clunkers. Let's face it, Manhattan Baby is a clunker. The story is lacking and it just doesn't flow. When a 90 minute movie feels like an eternity, something is wrong. That's the flick's major flaw: It's BORING. Christopher Connelly can't even save it. Oh who am I kidding? Al Pacino couldn't even save this thing. Another sad thing is Fabio Frizzi's score. I usually love the guy. But the score here seems too repetitive of his other work and there is a jazzy element that doesn't fit. I just wasn't digging it. And another thing, where's the gore? When you watch a movie by Lucio Fulci, you expect certain things. You expect him to put his stamp on it. And that stamp is gore; loads of it. I applaud him for trying something different, but a goreless Fulci film! Isn't that an oxymoron? Manhattan Baby is for Fulci completists only I'm sad to say.
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* *1/2 out of 4
Bleeding-Skull15 March 2008
Warning: Spoilers
On holiday in Egypt with George and Emily Hacker (Christopher Connelly and Martha Taylor), her archaeologist father and journalist mother, 10-year-old Susie Hacker (Brigitta Boccoli) is approached by a mysterious blind woman, who gives her an amulet with a blue-Jewelled eye in the center. Soon after, George is struck blind by a bright piercing blue light when he enters a previously unexplored tomb. But his assistant is not so lucky as he falls from a false floor bottom to his death on spikes in a booby-trapped chamber.

This is a pretty fun zombie film to watch if you are bored one day, and need something to scare you silly. This movie has good script and a perfectly selected cast.

Unrated for Graphic Violence.
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