The First Omen (2024) Review!!

Synopsis – A young American woman is sent to Rome to begin a life of service to the church, but encounters a darkness that causes her to question her faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.

My Take – Released in 1976, The Omen became a staple in the horror genre by introducing many recognizable tropes, such as creepy children, the mark of the beast 666, the use and subversion of religious iconography. Subsequently, deeming itself as an all-time classic along the likes of The Exorcist (1973) and Rosemary’s Baby (1968), each dealing with societal decay, loss of faith, and paranoia.

However, the Richard Donner directed antichrist feature just hasn’t had the same pop-culture resonance or staying power as its contemporaries, mainly because it spawned three (mediocre) sequels, a diversely received 2006 remake, and a short-lived 2016 TV series (Damien).

Something, which this sixth installment of the unholy franchise aims to course correct by heading back to Rome, to explore the backstory behind the birth of the Antichrist infant Damien, before he entered the lives of the ill-fated U.S. Ambassador Robert Thorn and his wife, memorably played in by Gregory Peck and Lee Remick.

Surprisingly enough, thanks to a clear vision, a strong central performance, and some gnarly visuals, this one ends up being a largely satisfying film that is both effectively unsettling and creepy.

Helmed by Arkasha Stevenson in her feature directorial debut, who co-wrote with Tim Smith and Keith Thomas, from a story by Ben Jacoby, the prequel revels in mashing up genres: body horror and gothic church horror.

Yes, it takes a while to get going, very much on the lines of 70s cinema, and the end takes an unexpected turn to create setup for potential follow-ups, but the brunt of the film is very wild and strong, with lead Nell Tiger Free (of Servant and Game of Thrones fame) and director Stevenson both cementing themselves as break through stars.

Set in 1971 Rome, amid left-wing protests, the story follows Margaret Daino (Nell Tiger Free), an American girl, who arrives to work at the Vizzardeli Orphanage before taking the veil. Though he’s greeted warmly by Cardinal Lawrence (Bill Nighy), her old mentor, but not so much by the nuns, including the forbidding Sister Silva (Sonia Braga).

However, Margaret does find some supportive friends in the form of Father Gabriel (Tawfeek Barhom), a young priest, and Luz (Maria Caballero), her new roommate, the latter who makes a determined effort to get the newcomer out of her shell. Margaret also forms an emotional connection with Carlita (Nicole Sorace), a troubled young girl who is often violent, and draws strange pictures akin to how she used to act years ago, suffering from nightmares.

Things take an odd turn when Margaret begins having terrifying visions, particularly after meeting Father Brennan (Ralph Ineson), who implores her to help him uncover a massive conspiracy that has been in play for a long time.

Indeed, selling a prequel can be difficult because the audience already knows the climax. Thankfully, the screenplay is set in a world where the stakes are identifiable and the characters’ motivations are clear and defined. Sure, to fully appreciate this feature debut from director Stevenson it’s best to re-watch director Donner’s original, since she and her co-screenwriters throw in plenty of fun shutouts, including one character offing herself in a style that recalls the chilling demise of Damien’s first nanny.

And within that framework, she creates several genuinely shocking moments, not cheap jump scares, which are what films like these tend to generate, if anything at all. Cinematographer Aaron Morton provides a technical flair that evokes the cinema of 1970s period setting. There are scenes of graphic horror, not least in the birth scenes where elements of body horror are introduced along with Margaret’s visions of the risen dead.

It can also be a rough watch at points, delving even deeper into motifs and analogies of bodily autonomy. Yet director Stevenson’s depiction of a woman’s body being controlled and invaded by others doesn’t feel exploitative as much as it is forthright about the horror of Margaret and Carlita’s predicament.

In the lead, Nell Tiger Free gives a sympathetic performance as the wide-eyed innocent who seems troubled by hints of a dark past. Her part demands a lot and she is equal to it as her character develops. Ralph Ineson makes the father more relevant and believable than anyone else could have done. Maria Caballero brings the right edgy-yet-likable vibe to Luz, who is determined to push the boundaries of novitiate behavior.

Nicole Sorace is believable as the disturbed and conflicted young girl. Bill Nighy is enigmatic as always. Sônia Braga and Tawfeek Barhom provide good support. On the whole, ‘The First Omen’ is a formidable prequel that is effectively unsettling and creepy.