The next installment in the Larry Cohen collection is the little-seen 2008 remake of the cult classic “It’s Alive.”
The screenplay credit for “It’s Alive” is not given just to Larry Cohen, but also to two other people: Paul Sopocy, who has no other major writing credits (outside of a few episodes of “Elvira’s Movie Macabre”), and producer James Portolese (“The Ledge,” “Simon Sez”). It is unclear exactly how much input Cohen’s screenplay draft had into the ultimate film product, but at one point he had planned on writing, directing, and producing the remake according to an oft-quoted interview. He has also openly and bitterly denounced the film in interviews since the release, claiming:
I did give them a script and they, more or less, ignored what I gave them completely. I did make a lot of money on the deal, so I really can’t complain. I certainly didn’t want to give them their money back, so I’ll just have to live with it. I would advise anybody who likes my film to cross the street and avoid seeing the new enchilada.
“It’s Alive” was directed by Josef Rusnak, who also worked on such features as “The Thirteenth Floor” and “Godzilla” (1998), the latter as an assistant director.
The effects team for “It’s Alive” included makeup artist Timothy Huizing (“Smokin’ Aces,” “Scary Movie 2,” “Jack & Jill”), as well as such visual effects workers as Simeon Asenov (“Shark Attack 3: Megalodon,” “Drive Angry,” “The Legend of Hercules”), Velichko Ivanov (“Kingsman: The Secret Service,” “Guardians of the Galaxy”), and Silviya Mariyanova (“Olympus Has Fallen,” “The Expendables 3”).
The cinematography for “It’s Alive” was provided by Wedigo Von Schultzendorff, a German director of photography who has worked on films such as “Igby Goes Down” and “Pandorum.”
The producers for “It’s Alive” included Mark Damon (“Mac and Me,” “Monster,” “Orgazmo”), Moshe Diamant (“Timecop,” “Simon Sez,” “Double Team,” “Dark Angel”), Boaz Davidson (“The Wicker Man,” “Mansquito,” “The Iceman”), Danny Dimbort (“The Wolf of Wall Street,” “Rambo,” “Bad Lieutenant: Port of Call New Orleans”), and Robert Katz (“Stuck,” “The Ambulance”), among others.
The editing of “It’s Alive” was done by James Herbert, who has cut a number of Guy Ritchie films such as “RocknRolla” and “Revolver,” and Patrick McMahon of “The Shining” mini-series and “A Nightmare On Elm Street.”
The cast for “It’s Alive” includes Bijou Phillips (“Almost Famous,” “Choke”), James Murray (“Primeval”), Owen Teale (“Game of Thrones”), and Todd Jensen (“The Mangler”). The collection could generously be called “low-rent,” and honestly be called “weak,” something that is immensely clear from the peripheral performances.
The story of “It’s Alive” centers around two young parents and their newborn child. At the child’s birth, the doctors and nurses are mysteriously murdered during the delivery, with no suspects or apparent motive. As the child becomes rapidly stranger and more violent, the parents are forced to confront the possibility that their baby is a serial killer.
“It’s Alive” was released straight to video by First Look Pictures, but was apparently given a very limited theatrical run specifically in the Philippines. In any case, I would be shocked if it made any money on its estimated $10 million budget.
“It’s Alive” was received very harshly, particularly by fans of the cult classic original. It currently holds a score of 3.5 on IMDb, and a Rotten Tomatoes audience rating of 6%. Larry Cohen himself went on record saying that the film was “a terrible picture…just beyond awful.”
There frankly isn’t a whole lot positive to say about “It’s Alive.” It features some inexplicably dreadful character and plot writing, which I assume is due to the inexperience of the two primary writers. There are also some awful performances as you get deeper into the accessory cast, such as the E.R. doctor who is slaughtered at the beginning of the film. I will say that Bijou Philips is not terrible, but her character’s writing just doesn’t make any sense. She never seems as disturbed as she should be by the events that happen throughout the film, and takes way too long to descend into panic over the baby’s violent outbursts. The effects overall are pretty cheesy (the baby is both ridiculous and wildly inconsistent), but the film doesn’t particularly look awful from a production standpoint, which is about all I can say for it.
Overall, “It’s Alive” is just way off the mark from what it should have been. It lacks charm and thought, two qualities that distinguish Cohen’s films from most of the rest of the b-horror pack. I’m not sure what happened over the course of the production, but Cohen’s creative lock out seems like it doomed the effort out of the gate. There are a few decent deaths in the film, but the overall experience just isn’t fun or memorable enough to recommend.