The First Omen (2024)

 A prequel to the iconic 1976 horror film The Omen wasn't strictly necessary, but it was certainly something we could have anticipated. Major horror films from that time, like Halloween, The Exorcist, The Texas Chainsaw Massacre, Alien, and Suspiria, have all seen a resurgence through remakes and reboots in recent years—some of which have been decent, while many have fallen flat. Thus, another chapter featuring Damien feels as unavoidable as his own rise to power.

This isn't the first attempt to revisit the story either. After the series fizzled out in 1991 with the low-budget, gender-swapped TV movie Omen IV: The Awakening, the franchise faded into obscurity, much like many horror films of that decade. It wasn't until 2006, during a time when remakes were rampant, that the series saw a revival. That film, released on June 6, was a polished but ultimately hollow reimagining. A decade later, we got a short-lived TV series, Damien, which followed the character into adulthood. Now, we’re returning to the origins with The First Omen, first announced in 2016 with Antonio Campos attached, though he’s no longer involved. This raises the familiar question: do we really need to revisit this story?

The First Omen (2024)

Surprisingly, it turns out we might actually want to. The First Omen is crafted with more creativity and thought than many current studio horror films, quickly surpassing a low standard with the confidence of an original work. Much like its bold and unconventional trailer, the film is more artistic and visually striking than one might expect, largely thanks to director Arkasha Stevenson. Her bold approach shines until she’s constrained by the established franchise rules, which can sometimes hinder her creative vision.

Set in 1971, the narrative follows the optimistic American Margaret, portrayed by Nell Tiger Free from Game of Thrones, as she arrives in Rome to embark on a journey of religious devotion. Captivated by the beauty of her new environment, she is eager to dedicate herself to her faith. However, she soon senses something is off. Margaret becomes aware of the isolation of one of the girls, whose visions echo her own past experiences. As she delves deeper into the mystery, she uncovers unsettling truths that suggest something sinister is at work.

For those familiar with Richard Donner’s original film, it’s evident that a baby is on the way, and from a chilling opening scene, Stevenson skillfully amplifies the body horror associated with childbirth. She has a talent for the grotesque, adeptly exploring the boundaries of what a mainstream film can portray (including a haunting homage to Possession that will stick with viewers). Yet, the film isn’t solely about shock value; the screenplay, co-written by Tim Smith and Keith Thomas (who nearly redeems himself after the dreadful Firestarter remake), offers a fresh perspective on a familiar tale. Unlike many horror films centered on the devil, it avoids the overtly evangelical tone we often see (which explains the commercial success of the God-fearing Conjuring series in the US). Here, religious extremism poses as much of a threat as satanism, creating a thought-provoking dialogue with last month’s nun-themed horror, Immaculate, which similarly critiques the church’s influence.

The First Omen (2024)

The Omen debuted during a period when studio horror films were just as lavish and cinematic as any other genre, and Stevenson has embraced that tradition, creating a film that is as rich and detailed in its 70s homage as any highbrow drama. However, as the film begins to reveal its connections to the original, it stumbles in the final act with predictable twists and awkward plot turns, feeling somewhat constrained by its franchise ties. The ending feels like a haphazard addition to an otherwise beautifully crafted story, with a final scene that is so poorly executed it seems influenced by test audience feedback, making it clear when Stevenson relinquished control to the studio. While the conclusion hints at more Omen films to come, I’m much more excited to see what Stevenson will create next, free from the constraints of the past.

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