The First Omen: A Prequel Done Well?

The Omen franchise has carved out a rather devilish niche in the horror genre, cheekily ensuring that every parent gives their kid a wary side-eye whenever they throw a tantrum. Starting with the original film in 1976, which might as well have been a how-to guide for checking if your child is the Antichrist, the series has become a beloved, if slightly unholy, staple of supernatural scares.

Directed by Richard Donner, the film had everything: Gregory Peck in peak dad mode, a nanny with a sinister employment history, and a (Academy Award-winning) soundtrack that made choirs sound menacing. Not to forget, it introduced us to Damien Thorn, the child so nefarious he made regular misbehaving kids look like angels. The film was a hit, probably because it tapped into every parent’s secret fear that their child might be plotting their demise.

This devilish charm led to sequels like Damien: Omen II (1978), where puberty hits Damien along with the realization he’s the Antichrist. Talk about awkward teenage years. Then came The Final Conflict (1981), in which Damien, now all grown up (and played by the one and only Sam Neill), decides to take over the world, because apparently, being the CEO of Hell wasn’t enough.

The Omen IV: The Awakening (1991) tried to mix things up by introducing a girl Antichrist, proving that evil doesn’t discriminate by gender, but perhaps by viewer patience. It was made for TV, which is fitting since the franchise was starting to feel like that uncle who overstays his welcome at family gatherings.

In 2006, The Omen got a remake, released on 06/06/06 – because nothing says subtlety like hammering down that 666 reference. It was a bit like reheating leftovers; not as good as the original meal, but it’ll do if you’re hungry for nostalgia.

The Omen series has become more than just films; it’s a cultural touchstone for how to use religious iconography to scare the bejesus out of people. It’s also a masterclass in marketing – convincing an entire generation to side-eye any kid riding a tricycle down a hallway. From inventive deaths that made us rethink our home safety measures to the haunting melodies that made choir music the unofficial soundtrack of doom, The Omen franchise has left an indelible mark. It’s a mix of dark humor, dramatic flair, and a reminder that maybe, just maybe, checking your child’s scalp for 666 isn’t the worst idea.

The trail of disappointing follow-up films leads us to The First Omen, a prequel no one really asked for but we all watched anyway because, let’s face it, the idea of discovering Damien Thorn’s origins is as tantalizing as finding out your weird uncle was once a disco champion. This film takes us on a time-traveling jaunt back to the groovy, tumultuous Rome of 1971, a place ripe with political unrest. It provides the perfect chaotic backdrop for birthing the Antichrist.

Directed by Arkasha Stevenson, The First Omen delves into the horror genre with the subtlety of a sledgehammer. Stevenson’s background in photojournalism and documentary photography has significantly influenced her filmmaking style, giving her a distinctive voice in the horror genre. This foundation has allowed her to approach horror with a raw, unfiltered lens, often focusing on the eerie beauty and profound terror of the mundane. Her foray into horror has been marked by a commitment to exploring the darker corners of the human experience, drawing on themes of isolation, identity, and the fragility of the human psyche.

One of her most acclaimed contributions to the genre is her work on the series Channel Zero: Butcher’s Block, where she served as a director. The series, known for its surreal and disturbing imagery, was a perfect match for Stevenson’s ability to conjure deeply unsettling atmospheres and narratives. Her background and unique approach to storytelling suggest that her future projects will continue to challenge and redefine conventional horror boundaries, making her a filmmaker to watch in the coming years.

In The First Omen, our story revolves around Margaret, played by Nell Tiger Free, an American novitiate who probably thought her biggest challenge in Rome would be resisting the urge to devour gelato three times a day. Little did she know, she’s about to get embroiled in a conspiracy that makes your average Illuminati gathering look like a book club. Frankly, after Nell Tiger Free’s incredible performance in Servant, I was a bit worried this might be the beginning of her getting typecast as the mysterious, kinda creepy, dark girl in religious horror.

Margaret arrives in Rome, wide-eyed and bushy-tailed, ready to serve at an orphanage and probably also looking forward to some spiritual enlightenment. What she gets instead is a crash course in Antichrist 101, taught by the sinister forces lurking within the Church’s ancient walls. Bill Nighy plays Cardinal Lawrence, her mentor with a mysterious vibe about him.

The film cleverly uses the unrest of the ’70s as more than just a setting—it’s practically a metaphor for the internal turmoil of our dear Margaret as she navigates through demonic conspiracies and questionable fashion choices. Because nothing says “I’m fighting the embodiment of evil” quite like a habit and some sensible shoes.

The First Omen’s set-pieces are designed to leave you unsettled. Stevenson knows her way around a horror scene, crafting moments of terror that are so beautifully shot, you’re not sure whether to scream or appreciate the cinematography. It’s like being on a date with a vampire—sure, you’re terrified, but wow, the ambiance is amazing!

Our protagonist, Margaret, shows excellent development. She goes from a doe-eyed novitiate to a nun on a mission, ready to take on the devil himself with nothing but her faith and a crucifix that’s probably not as effective as she hopes. Along the way, she forms a bond with Carlita (Nicole Serace), a troubled orphan. Their relationship is the heart of the movie, providing a tender counterpoint to the surrounding madness. The supporting cast is a rogue’s gallery of ecclesiastical figures, from Sonia Braga‘s stern Abbess to Ralph Ineson‘s Father Brennan, who looks like he’s seen so many horrors, he could star in his own horror film. And let’s not forget the nuns, who range from sinister to downright spooky.

The First Omen throws in nods to the original film, rewarding longtime fans with Easter eggs. Yet, Stevenson also carves out a new path, proving that there’s still life in the old franchise yet. Ultimately, the film is a rollercoaster ride through religious horror, political intrigue, and demonic childbirth classes you definitely won’t find at your local community center. It’s a film that asks the age-old question: What if the real Antichrist was the friends we made along the way? Or, you know, it’s just about trying to stop the end of the world. Either way, it’s a hell of a good time, with enough chills, thrills, and nunsploitation to make you say a prayer before bedtime. Just in case.