Mary Poppins Returns
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All Critics (14)
| Fresh (13)
| Rotten (1)
At the risk of sounding cliche, they just don't make 'em like this anymore--there's no way a concept this controversial and outlandish would get green-lit let alone be given a competent director.
All in all, The Baby is a movie that all genre fans should watch at least once. Even if it will leave you feeling a tad uncomfortable when all is said and done.
A terrific twist ending is what puts this one over the top.
The discomfort of The Baby is what makes it seem surprisingly subversive, thanks mostly to the rigorous physicality of David Mooney's (here credited as David Manzey) performance as a developmentally disabled adult.
The Baby, though marketed as horror, plays out as a deranged women's picture, its melodrama modulated to the rhythms of errant maternity.
The film [is] a warped mirror on American family life, depicting parenting as an act of grotesque selfishness.
Sadistic horror pic that has achieved classic cult status for being so irreverently camp.
There's a master's thesis on The Baby waiting to be written and I'll be first in line to read it, but not because I expect to find the film's provocations tamed or its utter bizarreness gently folded into the seething swamp of things that make us go hmm.
'The Baby' is absolutely gaga. Or should that be goo-goo-gaga? It's a multiple-personality disorder of a film that vacillates among the extremes of weirdo exploitation, psychological horror and social-reform drama.
Exploitation films don't come much stranger than 1973's The Baby.
... the film has the look and feel of a TV cop drama, and a politically incorrect, outlandish storyline that couldn't be filmed today.
You may find yourself giggling with disbelief or maybe just embarrassment
What was that?! Dumb early 70's horror film that is only worth seeing for Ruth Roman's performance.
A social worker becomes obsessed with a family who keeps their mentally retarded adult son in a crib wearing a diaper; his mother and two sisters are willing to do ANYTHING to assure that "baby" is not taken away from them. The only things that stand out in this acceptable thriller are Ruth Roman's campy performance (a bit like a nastier "Mommie Dearest" with Suzanne Pleshette's voice) and the twist ending.
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