Despite the steadfast reputation of “The Omen” (1976) as a cult classic in horror cinema, the series has never quite reached the heights of its contemporaries like “The Exorcist,” “Evil Dead,” or even “Halloween.” It’s well-known that horror franchises frequently struggle to make a mark with sequels and reboots, with last year’s “Evil Dead Rise” being a notable exception that captivated audiences. Yet, bucking the trend of lackluster follow-ups is “The First Omen,” the newest installment in the Omen saga, which arguably outshines all other sequels and becomes the most commendable addition since the original.
In the bygone era of the ‘70s and ‘80s, horror was often painted on a smaller, more contained canvas, frequently portraying an ominous child in need of an exorcism, ghost-infested abodes overtaking its dwellers, or a lone, sinister killer slashing his way through unwary teenagers in secluded cabins. The Omen series set itself apart with its grander narrative scope, focusing on Damien Thorn, a child marked as the Antichrist, the Devil’s progeny, destined for a position of influence potent enough to vie for the presidency. “The First Omen” delves into the sinister beginnings of this child and the sinister forces at play in the entire affair.
Set against the backdrop of 1971, “The First Omen” introduces us to Margaret Daino (portrayed by Nell Tiger Free), an American novitiate who arrives in Rome during the tumultuous civil rights protests. Cardinal Lawrence (Bill Nighy) greets her with forewarnings of a new generation disillusioned with authority and skeptical of institutional faith, including the Church. Margaret’s deep-seated concerns, however, stem from her own harrowing visions that have plagued her from childhood. These visions find a mirror in Carlita (Nicole Sorace), one of the elder children at the Vizzardeli Orphanage where Margaret intends to take her vows. As Margaret encounters a slew of mysterious occurrences, she crosses paths with Father Brennan and embarks on a journey to unravel the enigmas held within the orphanage, unwittingly uncovering startling truths about herself along the way.
“The First Omen” sets itself apart from other horrid prequels by serving as a standalone motion picture, not just as a precursor to the lore of the existing series. While we are privy to the ending — leading to Damien’s birth, as the original film begins with the Thorn family adopting him — director Arkasha Stevenson sensitively approaches the concept of childbirth without becoming mired in excessive mythological or religious exposition. Stevenson’s intent is crystal clear: to unsettle the audiences, a realm in which the film excels.
With an ideal blend of contemporary grotesque and respectful nods to memorable deaths from the past entries of the franchise, “The First Omen” furnishes a litany of chills. It invokes scenes reminiscent of the iconic “It’s all for you” sequence from the original film, and features parallels such as a character ending her life in a similar fashion, and a clergy member meeting a fate akin to Father Brennan from the 1976 movie. Add to that the lurking monstrosities behind curtains, spectral women enshrouded in black veils before being transformed, and the haunting portrayal of sinister artwork lining the walls – the film is complete with enough tropes to satiate horror buffs without resorting to the commonplace jump scares and rapid camera movements.
The measure of a horror film’s success in our region is often how much it affects viewers despite the heavy censorship cuts. Despite this, thanks to an ingenious plot and a stellar performance by Nell Tiger Free, “The First Omen” reinvigorates a legendary, albeit tattered, franchise.
“The First Omen” is showing in theatres now, delivering a fresh, fearsome chapter in a lineage of cinema designed to thrill, chill, and reignite the embers of a once-dominant horror empire.
