[critical] THE BABY

Has like CARRIE – THE REVENGE the movie THE BABY is managed it has also generated some buzz before its release thanks to a funny promotional video in the form of a hidden camera. In this case, a demonic baby that terrified the slightest from approaching his stroller, abandoned in the streets of New York.

Released in us on may 7, 2014, this new found footage horror reminds us that “promo memorable” does not rhyme necessarily with “good film”.

Zach and Samantha are crazy in love, get married and go on honeymoon with an insatiable desire to film absolutely everything that happens. After a romantic trip to the Dominican Republic, the couple is all happy to learn that a third will soon brighten up their lives.

Only here, Samantha has been the victim of a satanic ritual (enfoirés Dominicans !) and is in fact pregnant with the antichrist ! His behavior becomes increasingly strange, to the chagrin of his entourage.

In view of the pitch of the most agreed upon, it is understood from the outset that THE BABY will be nothing other than a banal product sanitized. The film takes a crazy time to start in order to present us with these two characters, and we absolutely prove they spin the perfect love. It then follows a succession of scenes all too cliché post-ritual, where Samantha wakes up in the middle of the night, and to attack his fellow beings without realizing it, plays the lonely, eat in the greatest calm meat from the supermarket at the same radius.

If you particularly like the films of possession, the latter offers nothing exciting as the narration is transparent, so the story is predictable and succumbs to massive facilities, and the jump scares (if you can call them as such) are a weakness absolute.

Should this scenario to so-called Lindsay Devlin, who signs her first film. Like so…

“Shameful rip-off of ROSEMARY’S BABY, we would like the version ASYLUM of the classic Polanski. Of disrespect, pure and hard !”

More annoying than horrific, THE BABY leaves also reflect the lack of ambition and seriousness of its implementation stage, where the process of the found footage is used only for economic purposes, rather than an actual aesthetic choice : planes will be blurred, framing, disgusting, the two filmmakers Matt Bettinelli-Oplin and Tyler Gillett are proof of laziness amazing which proves undeniably that the passion is absent, and that this choice has not been put in place to take in the breath of the viewer and encourage immersion.

May be conscientious that their shaky cam could give a headache, they are opting for fixed shots supposed represented the capture of several surveillance cameras.

The few scenes that are worth the interest are those in which Samantha uses new telekinetic powers that are reminiscent of the movie CHRONICLE. Finally, the casting is struggling to convince by playing the characters themselves not really endearing.

No chills, no atmosphere and no soul, THE BABY, is a real purge that horrifies the more for its mediocrity. Shameful rip-off of ROSEMARY’S BABY, we would like the version ASYLUM of the classic Polanski. Of disrespect, pure and hard !

Original title : Devil’s Due

Achievement : Matt Bettinelli-Oplin,Tyler Gillett

Screenplay : Lindsay Devlin

Main actors : Zach Gilford, Allison Miller, Sam Anderson

Country of origin : United States

Released : may 7, 2014

Duration : 1: 29h

Distributor : 20th Century Fox France

Synopsis : Following a drunken night out during their honeymoon, the young couple must manage a pregnancy has occurred sooner than expected. While the future father chooses to immortalize the nine months filming his wife, he discovers that it adopts a behavior more and more disturbing, reflecting the profound changes to the origins of both mysterious and sinister…

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