Who is Ann Gentry in The Baby?

Anjanette Comer plays Ann Gentry in the film.

What is The Baby about?

The Wadsworths are a typical ordinary family: a strong-willed matriarchal mother (Ruth Roman, of STRANGERS ON A TRAIN), two lust-fueled daughters and a bouncing baby boy. Except the baby (David Mooney) is going on 30 years old, sits in a crib, wears diapers and sucks a bottle. When the family’s new social worker (Anjanette Comer, of THE LOVED ONE) arrives, she takes notice of the baby and decides to do something about this dysfunctional household. The 1970s-era brightly colored sets evoke a “Brady Bunch” suburbia, but one that is slightly off-balance. The decaying Victorian Wadsworth mansion, a cross between something out of WILLARD and “The Munsters,” adds to the neglected aura of the family relations. Cinematographer Michael Margulies uses skewed camera angles bolster the unsettling nature of this film, and Gerald Fried's score creates an eerie atmosphere.

The Baby

Name: The Baby
Genre: Horror
Duration: 84
Rating: 50

PG 1 hr 24 min

Rate

List

Theaters near

Loading format filters…

Frequently Asked Questions

How long is The Baby?: The Baby is 1 hr 24 min long.

Who directed The Baby?: Ted Post

Who is Ann Gentry in The Baby?: Anjanette Comer plays Ann Gentry in the film.

What is The Baby about?: The Wadsworths are a typical ordinary family: a strong-willed matriarchal mother (Ruth Roman, of STRANGERS ON A TRAIN), two lust-fueled daughters and a bouncing baby boy. Except the baby (David Mooney) is going on 30 years old, sits in a crib, wears diapers and sucks a bottle. When the family’s new social worker (Anjanette Comer, of THE LOVED ONE) arrives, she takes notice of the baby and decides to do something about this dysfunctional household. The 1970s-era brightly colored sets evoke a “Brady Bunch” suburbia, but one that is slightly off-balance. The decaying Victorian Wadsworth mansion, a cross between something out of WILLARD and “The Munsters,” adds to the neglected aura of the family relations. Cinematographer Michael Margulies uses skewed camera angles bolster the unsettling nature of this film, and Gerald Fried's score creates an eerie atmosphere.