The First Omen Review: Stevenson’s directorial prowess

The anticipation for a prequel to the iconic 1976 horror film, “The Omen,” was inevitable given the trend of revisiting classic genre films from the 70s. In an era marked by remakes, reboots, and remixes of cult favorites like “Halloween,” “The Exorcist,” and “The Texas Chainsaw Massacre,” it was only a matter of time before we delved back into the origins of Damien.

This isn’t the first attempt at expanding the Omen universe. Following the lackluster reception of the 1991 gender-swapped TV movie, “Omen IV: The Awakening,” the franchise lay dormant until 2006, when a slick yet soulless remake hit theaters. Another decade passed before the ill-fated one-season TV series, “Damien,” explored the troubled character’s adulthood. Now, with “The First Omen,” we’re taken back to the beginning, a journey announced in 2016 under the direction of Antonio Campos, though he’s since departed, leaving us with the perennial question: do we truly need to revisit this territory?

Surprisingly, “The First Omen” initially suggests that maybe we do. Crafted with more flair and thought than many studio horror films of today, it rises above the low standards set by its contemporaries. The film’s promotional material, much like its bold and unconventional trailer, promises a level of artistry and impact that catches the eye. This credit largely goes to TV director Arkasha Stevenson, who injects a refreshing originality into the narrative until she’s inevitably constrained by franchise obligations.

Set in 1971 Rome, the story follows American Margaret (played by Nell Tiger Free), a young woman embarking on a life of religious service. However, ominous signs begin to emerge, hinting at a sinister presence lurking beneath the surface. Stevenson effectively capitalizes on the inherent horror of childbirth in early scenes, showcasing her knack for visceral imagery. The script, co-written by Tim Smith and Keith Thomas, offers a fresh perspective on the familiar tale, avoiding the overt evangelism often associated with devil-centric horror.

Stevenson’s meticulous attention to detail in recreating the 70s aesthetic elevates the film beyond the standard fare of contemporary horror. However, as the shadow of the original “Omen” looms larger, the narrative falters in its final act, succumbing to predictable revelations and clumsy attempts to tie into the franchise. Despite this misstep, the film remains a testament to Stevenson’s directorial prowess.

In conclusion, “The First Omen” may not be the last installment in the franchise, but it’s Stevenson’s future projects that hold more intrigue. Freed from the constraints of franchise expectations, her next endeavor promises to be a captivating departure from what came before.

Ratings: 4/5 Stars