Indulge me momentarily, as I gleefully embrace my unwavering standom of the Omen franchise. From its spine-tingling inception in the 1976 classic, where Gregory Peck and Lee Remick navigated a world ensnared by sinister forces, to the subsequent installments that dared to explore the depths of Damien’s unholy lineage, this series has held a special place in the hearts of horror enthusiasts
While some fans may find the sequels, like Damien: Omen II and The Final Conflict, not quite reaching the same level of quality as the original, they still have their own merits. 1978’s Damien: Omen II, starring William Holden and Lee Grant, delves deeper into the character of Damien as he comes to terms with his dark destiny, and it does indeed have some memorable moments. And despite any shortcomings, The Final Conflict does provide a fitting conclusion to the trilogy, even if it may feel somewhat different in tone compared to the first film.
For the sake of this review, we will skip over the forgettable 2006 remake, Omen IV: The Awakening and the AMC TV series!
Now, let’s get to the reason you’re reading this!
The First Omen, helmed by director Arkasha Stevenson and penned by a trio of writers including herself, Keith Thomas, and Tim Smith. Set against the backdrop of 1971 Rome amidst civil unrest, the film ingeniously weaves real-world turbulence into its eerie narrative of hidden horrors within religious institutions.
Young novitiate Margaret Daino, portrayed by the talented Nell Tiger Free (Servant, Game of Thrones) arrives at Vizzardeli Orphanage to take her vows. There, she encounters several intriguing individuals, including the young artist Carlita Skianna (Nicole Sorace), her eccentric roommate Luz, and the odd-mannered Anjelica. Margaret forms a bond with Carlita, who suffers mistreatment at the hands of the nuns.
Strange occurrences begin to unfold, including Margaret witnessing a demonic birth and experiencing disturbing hallucinations. Father Brennan (Ralph Ineson) warns Margaret not to trust anyone at the orphanage and reveals shocking information about Carlita’s true nature, alleging her to be the antichrist curated by the church.
As Margaret grapples with these revelations, she must navigate a web of deceit and darkness, unsure of who to trust. With danger lurking at every turn, she must uncover the truth about Carlita and confront the sinister forces at play before it’s too late.
Navigating the tumultuous, historic and gloomy night streets of Rome, she encounters the familiar tropes of Omen lore: the rooftop leaps, the chilling revelations of the mark of the beast. The scares are delivered confidently when they arrive and nod to the franchise’s devout fans. Watch below:
REELated:
Sure, at times the plot may seem a bit over the top, riddled with more questions than answers and bound by the constraints of franchise expectations. Yet, director Stevenson expertly sidesteps logic in favor of a visceral cinematic experience. The First Omen drips with style and mood, drawing inspiration from Italian horror and Giallo traditions. From textured visuals to heightened performances, the film immerses viewers in a nightmarish dreamscape where dread permeates every frame.
Amidst the expected thrills, there lies a stroke of genius in the form of makeup and prosthetics by designer Adrien Morot. With a penchant for visceral imagery, Morot’s creations push the boundaries of the R-rating, culminating in nightmarish scenes that linger in the mind long after the credits roll.
Nell Tiger Free’s portrayal of the pregnant protagonist adds an intriguing layer of complexity to the narrative, deftly weaving a tale of supernatural terror and psychological suspense.
With echoes of the original film resonating throughout, including nods to iconic moments like the haunting “it’s all for you” suicide, The First Omen emerges as a chilling testament to the enduring legacy of horror cinema.
The First Omen and the recently released Immaculate, transcend mere jump scares to evoke a deeper, more primal terror. These films eschew conventional character development in favor of evoking a sense of existential dread, reminding us that in the realm of horror, logic takes a backseat to visceral experience.
In the aftermath of the Supreme Court’s reversal of Roe v. Wade, a surge of horror movies emerges, echoing societal anxieties about the erosion of women’s bodily autonomy under the guise of religious imposition. The timing seems almost prophetic, as if horror cinema serves as a mirror reflecting our collective fears back at us.
BOTTOM LINE: The First Omen provides the scares, chills and is a good omen that the franchise might be reinvigorated. It’s a REEL SEE.
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The Geek is a working screenwriter, director and screenwriting instructor.
