Relentless and chilling, The First Omen is a viciously thrilling, worthy prequel to Richard Donner's 1976 The Omen. Just be warned, it's going to haunt the hell out of you.
The First Omen Review
As I watched The First Omen there was one word and accompanying facial expression that permeated my theater. Honestly, it kinda sums up the film perfectly, but since I don't use that kind of language here and it's not really professional to write a one word review with the shocked face emoji, I'll do my best to convey why everyone felt that way. Making her feature debut, director and co-writer Arkasha Stevenson has created something graphic, damning, unforgiving, and viciously thrilling. Living up to Donner's The Omen is not an easy task, compounded by the fact this is a prequel, meaning there is only so much room to creatively work without drawing ire from longtime fans. Stevenson has deftly handled laying the groundwork for Damien Thorn's first appearance while giving audiences something fresh and unique to add to their recurring nightmares.
The First Omen works thanks to its extremely haunting visuals, a powerful lead performance, innovative horror elements, and its understanding of the sandbox it's playing in. While clearly a prequel, it does not require any familiarity with the original, although I will admit I wish I had rewatched it before seeing this one. There are definitely aspects that have deeper meanings as they connect directly with The Omen. Either way, this film pulls you in like a poor innocent nun to a flame right from its mysterious opening sequence. There is a hushed conversation between Father Brennan (Ralph Ineson) and Father Harris (Charles Dance) that is purposefully vague. By doing this, Stevenson, along with her co-writers Tim Smith and Keith Thomas, have ensured that we the audience are fully invested in figuring out just what the hell is going on.
What is The First Omen about?
American novitiate Margaret Daino (Nell Tiger Free) arrives in Rome in 1971, ready to dedicate herself to God and the church by taking the veil. Before her vows, she begins working at the Vizzerdeli Orphanage. As with any good horror film, everything appears normal, even pleasant, other than the civil unrest in the city amongst students and workers. All that changes when Margaret meets Carlita Skianna (Nicole Sorace), a “bad” child who is treated poorly by the nuns. As her concern for Carlita grows, Margaret begins to realize things aren't quite right within the convent. This leads her on a hunt to discover the truth as troubling circumstances and shocking visions rock to her core and threaten her very life.
As the terrors unravel, Stevenson uses her canvas to paint a tremendously grotesque but enthralling prequel that shines fresh light on the original. There are callbacks and relevant plot points that must be included, from the convent that desires the birth of the antichrist to Father Brennan, played here by Ralph Ineson. Thanks to some mind-bending camera work and trippy lighting, even the homages feel unique and more horrific. Mark Korven's score which takes inspiration from Jerry Goldsmith’s, but makes it creepier. There is the ever unsettling “Ave Satani” but Korven goes beyond the troubling choir vocals to produce a score that feels as if it is also attacking Margaret, laughing, sneering, and haunting her at every turn.
However, Stevenson’s film is not just out to scare the devil out of its audience, it's also intriguing and emotional. Underneath the jump scares and nightmare inducing imagery is a story about the corruption of the church, body autonomy and a woman's purpose. It pulls no punches on any of these points. There is the damning spotlight on the reason why many hate religion: the fact that people who call themselves religious do the most horrific things in the name of God despite His teachings encouraging love and acceptance. The idea of who controls a woman's body is an important topic in today's world. Yet none of this feels exploitative or simply put in for shock value. Rather it's presented as a horrific truth and the reality these women face. If it's hard to stomach watching a woman strapped down, forced into unimaginable things, then good. That's the point. It should be uncomfortable and it should be an eye opener to what some would have happen in the real world. Free gives an incredible performance that deserves all the accolades for this genre come award season.
As the terrors unravel, Stevenson uses her canvas to paint a tremendously grotesque but enthralling prequel..
Production designer Eve Stewart (Eternals) and costume designer Paco Delgado (Death on the Nile) capture the essence of the original in the way they brought to life the beauty of Rome in the '70s as well as the Gothic atmosphere of the convent and churches. As the grandeur surrounds Margaret, clever angles make her appear like a small, sacrificial lamb alone in a city hellbent on slaughtering her. Cinematographer Aaron Morton, no stranger to this genre, stylishly captures Margaret's steady change from innocent nun-to-be to a woman scared but determined to survive. There are also the fun jump scares that always seem to come one beat after you expect them. Morton and Stevenson also work in plenty of terrifying moments during the runtime which includes some closeups of satan's actual spawn– spiders. Throughout Stevenson is raising the bar on controversial horror shots with one so graphic it almost led to an NC-17 rating. (You'll know it when you see it, trust me.)
For millennials, it will be easy to recognize the Final Destination approach this franchise has always utilized, which means anyone who gets too close to the truth meets an untimely and gory end. Sometimes the means of death are as obvious as a semi-truck hauling logs while others come as a surprise. Then there is the Jackal and how Stevenson and company have chosen to flesh out this piece of Omen lore. I won't spoil anything but it's an interesting way to not only explain Damien's birth but also drive home the points of abuse within the church.
All those elements make for an amazing film but the glue holding it together is Nell Tiger Free. This role put her through the wringer, challenging her emotionally, physically, and mentally. Free delivers a breathtaking performance, committing to every aspect of Margaret's evolution. The terror she conveyed just in her eyes as they bugged out and darted back and forth is enough to leave anyone haunted. I don't know if the popped blood vessels in her eye were CGI or not but I wouldn't doubt if they were 100% real because Free was just that convincing. The supporting cast is strong as well, Ineson and Bill Nighy bring a certain gravitas to their characters with the former also lending to some of the chaotic energy of certain scenes. Sorace is unsettling yet vulnerable while Ishtar Currie-Wilson laugh will linger in your mind.
VERDICT
The First Omen is a prequel done right. It honors its predecessor, plays nicely in the sandbox, yet also delivers something that can rightfully stand on its own. It's relentless and unforgiving as it marches to the inevitable conclusion. Stevenson has created a compelling story to compliment the viciously thrilling, grisly visuals for a bold directorial debut. Add to that the strong central performance, this outing has the potential to be counted as a favorite by the fandom. Nell Tiger Free and Stevenson are both stars on the rise and The First Omen has made it very clear they have a bright future ahead of them.
The First Omen is in theaters now. It is rated R for violent content, grisly/disturbing images, and brief graphic nudity with a runtime of 2 hours.
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