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In 1971, American novitiate Margaret (Nell Tiger Free) arrives at Vizzardeli Orphanage in Rome to take her vows and begin her new life of religious dedication. With assistance from Cardinal Lawrence (Bill Nighy), her eccentric roommate Luz (Maria Caballero), and the Abbess, Sister Silvia (Sônia Braga), Margaret becomes orientated with her new setting. She also meets a young artist named Carlita (Nicole Sorace), who is isolated from the other children and suffers mistreatment by the nuns. Margaret is intrigued by the unusual Carlita and forms a bond with her, though Father Brennan (Ralph Ineson) soon arrives to warn the American about her newfound friend. Due to waning faith around the world, Father Brennan believes that Catholic radicals are conspiring to bring about the birth of the antichrist, in turn creating fear to drive people back to the church.
Set amid the true-to-life political unrest in Italy during the 1970s, the story of The First Omen benefits from an element of mystery and intrigue, though the revelations will only truly surprise newcomers to the franchise. The feature clocks in at a beefy 120 minutes, which is unusually long for the genre, but Stevenson mostly manages to sustain interest and engagement throughout the proceedings, especially during the vicious second half when the church's plans come into focus and the fight for survival begins. Unfortunately, the ending feels like a cop-out, betraying the otherwise pitch-black tone and seemingly setting up a potential sequel. Considering there are several sequels to The Omen that explore Damien's future, The First Omen should feel more like a self-contained one-and-done story. Thankfully, aside from the sequel tease, the story seamlessly transitions into the 1976 film and makes for an effective double feature with the much-revered classic.
With gorgeous cinematography courtesy of Aaron Morton (2013's Evil Dead), the artistry on display throughout The First Omen is genuinely impressive, with atmospheric use of shadows and intriguing framing, even making use of mirrors. The visual gravitas separates The First Omen from less skilful horror offerings (for example, the 2006 remake of The Omen), while the use of sound amplifies the creepiness and horror. There are several memorable moments here, including a haunting birth sequence and a horrifying suicide, earning the picture's R rating. The digital effects are not immaculate (computer-generated flames never look quite right), but the illusion is convincing enough, with the finale providing some potent horror imagery. Although there are a few jump scares, Stevenson mainly relies on suspenseful atmosphere and an omnipresent sense of dread, supported by the unnerving, deliberately intrusive original score by Mark Korven (The Lighthouse, The Black Phone) that is reminiscent of Jerry Goldsmith's superlative soundtrack from the original movie. Equally impressive are the performances, with young Nell Tiger Free making a fantastic impression as Margaret and nailing all the requirements for the taxing role. She effortlessly portrays fear and panic, and gamely participates in some icky body horror moments. Other seasoned actors, including Ralph Ineson, Charles Dance and Bill Nighy, contribute to the movie's feeling of legitimacy, ensuring it does not feel like another B-grade genre offering.
In addition to being a rock-solid prequel to a timeless, terrifying classic, The First Omen is a terrific horror movie in its own right, emerging as one of 2024's best, most notable genre offerings. Despite a slow first half and an underwhelming ending, The First Omen delivers where it counts, establishing Stevenson as a filmmaker with a bright future ahead of her. Provocative and unnerving, the film will undoubtedly delight horror buffs.
7.4/10
