The First Omen (2024) Review

I probably shouldn’t admit this, but I’m old enough to remember watching many ‘classic’ horror films before they were actual classics. The advantage of this is that I watched a lot of great films in the 80s without prior knowledge or expectation. The disadvantage is that I have since had to endure too many poor prequels, sequels and reboots. For this reason, when films like The First Omen are announced, I can’t help but feel uneasy.

That said, it’s a relief to report that The First Omen unveils a sinister prelude to the classic tale of Gothic horror, where the boundaries between the sacred and the profane blur with ominous portent.

The film is set in 1971, and amidst the ancient streets of Rome, an American novitiate named Margaret Daino embarks on a journey fraught with foreboding as she ventures into the hallowed halls of an abbey shrouded in mystery. As an American novice thrust into the cloistered confines of the orphanage, Margaret becomes ensnared in a web of dark secrets and whispered prophecies. Nell Tiger Free portrayal is a mesmerising dance of innocence and revelation, anchoring the film’s descent into existential terror.

Under the watchful eye of Cardinal Lawrence, portrayed with gravitas by the venerable Bill Nighy, Margaret finds herself ensconced in a world where the shadows whisper secrets and the walls themselves seem to pulse with latent malevolence. Beside her stands a cast of formidable talent, each imbuing their roles with an eerie authenticity. Sônia Braga’s portrayal of Sister Silvia exudes a stoic grace, while Ralph Ineson’s Father Brennan radiates a palpable sense of foreboding. Together, they form a tableau of dread against the backdrop of civil unrest and theological turmoil.

Yet, it is the narrative itself that serves as the film’s beating heart, a chilling exploration of institutional corruption and divine intervention. As Margaret delves deeper into the orphanage’s dark history, she uncovers a conspiracy that threatens to unravel the very fabric of reality itself. With each revelation, the film plunges deeper into the abyss of existential dread, confronting audiences with the terrifying truth lurking beneath the veneer of piety.

Fans of the original series will enjoy the references to films from years past, but also appreciate the step change in terms of scares and powerful performances – elements that were lacking as the sequels to the 1976 original were delivered. And it’s the refreshing departure from the more mundane Omen franchise moments that makes this film all the more watchable, even if we must concede at the very beginning that we already know where the unfolding events are headed.

Director Arkasha Stevenson weaves a tapestry of suspense and anxiety, expertly crafting a world where every shadow hides a secret and every whisper carries the weight of centuries-old prophecy. From the cobbled streets of Rome to the dimly lit corridors of the abbey, cinematographer Aaron Morton captures the essence of Gothic horror, infusing each frame with unease and angst.

Amidst the encroaching darkness, The First Omen demonstrates the enduring power of horror cinema to probe the depths of human fear. With its seamless integration into the mythology of The Omen franchise and its unflinching exploration of theological terror, Stevenson’s debut is a chilling reminder that some secrets are best left buried. And in this chilling prelude to terror, Stevenson proves herself a master of atmospheric horror-in-the-making, delivering a Giallo-influenced film that lingers in the mind and is testament to the lore which is the foundation of the franchise.

The timing couldn’t be better with the recent release of Immaculate, a film that shares similar characters and locations, but is different in terms of its production and, of course, antagonist. If you’re into religious horror, you have two excellent reasons to visit your local cinema.

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