Movie Review: The First Omen

When it was first released in 1976, Richard Donner’s The Omen received a mixed critical reception at best (though it was decidedly more popular with audiences, becoming the sixth highest-grossing movie of the year). In subsequent years however, it has been favorably reassessed, with its excess of retro style and ability to draw out the suspense leading up to some of horror cinema’s most memorable and over-the-top deaths landing a spot in the pantheon of all-time greats. The box office success of course led to sequels with diminishing returns and then the inevitable remake, which hewed so closely to the original as to be considered largely pointless (though which again turned a tidy profit). So, we inevitably find ourselves looking at 20th Century Studios’ next attempt to revive the franchise, this time by giving us a prequel that leads up to the birth of Damien, the child from the original movie.

Margaret Daino (Nell Tiger Free), an American novitiate arrives at the Catholic-run Vizzardeli Orphanage in Rome in 1971, as protests are beginning to take hold of the city. Upon arrival she notices Carlita (Nicole Sorace), a sullen girl who is repeatedly separated from the rest of the children for being “bad.” She feels sympathetic towards her, having been quite difficult herself as a child and tries to reach out to the girl. Meanwhile, her roommate and fellow novitiate Luz (Maria Caballero) tempts her to join her for a night on the town so they can get the fun out of their systems before they take their vows, where Margaret drinks too much and has an encounter with a man that she can’t quite remember.

On the street one day, she is approached by Father Brennan (Ralph Ineson), who warns Margaret that Carlita is a pawn in a vast conspiracy to bring the Devil himself back to Earth in the hopes that it might cause people to run back into the arms of the Church. Margaret is understandably skeptical, but as strange occurrences begin to mount in the presence of the girl, she sets about trying to learn if there is any truth in his claims so that she might protect Carlita (and herself).

In the opening moments, The First Omen shows some promise. This sequence feels stylistically and tonally similar to Donner’s original as it builds to a needlessly elaborate and artfully staged death. Things quickly take a turn for the worse however, as the film slows to a crawl and seems to forget nearly everything that worked about its predecessor. The cast are game and do their all with the sometimes-clunky dialog, but even their best efforts are unable to fully salvage the movie.

First time feature director Arkasha Stevenson and cinematographer Aaron Morton do offer up some striking shots, occasionally recalling the works of Italian horror masters like Argento or Fulci; and the eerie score by Mark Korven which recalls themes from Jerry Goldsmith’s Academy Award winning work for the original helps to elevate things, but it’s still not enough. The first half of the film relies too heavily on pointless and cheap jump scares and once things kick off in the latter half too many of the best moments are partially or wholly lifted from Donner’s film. The finale does right the ship at least somewhat, becoming surprisingly disturbing, but none of its revelations will surprise anyone whose been paying even a modicum of attention. Those who haven’t seen the original may get some thrills out of The First Omen, but those who have will be less than impressed. ★★