A young American woman is sent to Rome to begin a life of service to the church but encounters darkness that causes her to question her faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.
Richard Donner’s 1976 classic, “The Omen,” is a masterclass in horror that still sends chills down my spine. Released in the wake of “The Exorcist” and “Jaws,” it redefined the genre, proving that horror could be more than just campy monsters and clichés. Donner wove a tale of supernatural dread and graphic terror that kept audiences on the edge of their seats, wondering who would be the next to fall victim to the Antichrist’s wrath. The film’s suspense was a testament to Donner’s skill at manipulating his audience.
The series continued to push boundaries with “Damien: Omen II,” which featured shocking deaths that solidified its place in horror history. However, by the time “The Final Conflict” rolled around, the formula was starting to feel stale. And let’s just say “Omen IV: The Awakening” is best left forgotten.
This brings us to “The First Omen,” a prequel that attempts to fill in the gaps leading up to the events of the original. The story follows Margaret (Nell Tiger Free), a young American woman who moves to a Rome orphanage to devote her life to the Catholic Church. But when she meets Father Brennan (Ralph Ineson), a disgraced priest, he reveals a shocking conspiracy: the orphanage is a front to bring about the birth of the Antichrist, and Margaret is unwittingly at the center of it.
With its intriguing premise, “The First Omen” had the potential to be a compelling addition to the series. But prequels are notoriously hit-or-miss, and sadly, this one falls flat. Despite knowing that the events of the film will directly lead into the classic “The Omen,” the writers fail to deliver a story that lives up to its predecessor’s legacy.
One of the key elements that made the original trilogy so effective was its ability to build tension and foreshadow the gruesome deaths that would follow. In contrast, “The First Omen” relies on cheap tricks and unearned jump scares. Even when it borrows directly from the first film, the execution feels uninspired and lacks the visceral impact that made the original so memorable.
The film also squanders the opportunity to utilize Jerry Goldsmith’s iconic, Oscar-winning score. It’s used briefly in one scene and then promptly forgotten. One of the few highlights of the movie is its visuals; the director and cinematographer do an excellent job of capturing the essence of 1970s Rome, complete with student protests and social movements. They also pay homage to the era with slow zooms reminiscent of classic ’70s cinema. The acting is generally solid, with Nell Tiger Free delivering a standout performance as Margaret transforms from an innocent naif to a determined protector.
But despite these few bright spots, “The First Omen” ultimately feels like a generic horror film trying to coast on the goodwill of its predecessors. It fails to deliver any real scares or tension, and its narrative choices often feel baffling. Perhaps the most egregious example is the decision to replace Damien’s jackal mother with a human, a change that is never explained and feels like a massive missed opportunity.
In the end, “The First Omen” is a disappointing addition to the series. While it looks the part, it lacks the substance and suspense that made “The Omen” a classic.
Now available on Digital, and on Blu-ray™ and DVD July 30th
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