The First Omen, 2024.
Directed by Arkasha Stevenson.
Starring Nell Tiger Free, Ralph Ineson, Sônia Braga, Tawfeek Barhom, María Caballero, Charles Dance, Bill Nighy, Nicole Sorace, Ishtar Currie Wilson, Andrea Arcangeli, Guido Quaglione, Dora Romano, Michelangelo Dalisi, Anton Alexander, Mia McGovern Zaini, and Rachel Hurd-Wood.
SYNOPSIS:
A young American woman is sent to Rome to begin a life of service to the church, but encounters a darkness that causes her to question her faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.
Set in 1971 (roughly five years before the events of the original), The First Omen takes place during a time of civil unrest in Rome and waning, near non-existent trust in the Catholic Church. Their ways are outdated, and progressive movements are on the rise. Meanwhile, Margaret (an explosive breakthrough performance from Nell Tiger Free) is set to take her vows at an orphanage, looking to make a positive impact on the children despite a slight language barrier and having wrestled with unsettling visions in her past. Her roommate Luz (Maria Caballero) also insists that she dress fancy and spend the night out, living free, to understand what she would give up by becoming a nun.
The point is that first-time feature-length director Arkasha Stevenson (co-writing alongside Tim Smith and Keith Thomas, based on a story by Ben Jacoby and characters created by David Seltzer) has put considerable thought not just into how this prequel should fit into the grander picture of The Omen series, but this particular moment in time for women while also homing on a dark side to the Catholic Church and unpleasant experiences for girls. This time, the procedures are down with the devil in the sense that key figures of the church are responsible for some of women’s trauma and pain.
There are real characters here who don’t feel as if they exist only for the sake of adding context to a legendary horror film and its less satisfying sequels, packaged together with an appropriate amount of Omen ingredients to make the events depicted here still feel like a part of that franchise and lore (even if there might be too much exposition regarding jackals and satanic marks.) That is also not to say The First Omen is entirely free from nostalgia beats (of course, the famous score understandably plays at one point, while there are also some less inspired callbacks such as another public hanging), but that those elements are digestible since the rest of the experience contains a distinct core identity. It also feels fair to say that hardly anyone saw or remembers the straight-to-TV sequel Omen IV: The Awakening, so even the concept of a young girl as the source of tragic, potentially evil occurrences comes across as refreshing. Unsurprisingly, and rightfully so, the film is also not afraid to put religion on blast.
Margaret is quickly drawn to young Carlita (Nicole Sorac, finding a balance between ominous and misunderstood), a troubled child regularly making inappropriate drawings (what would a modern-day horror film be without that trope for disturbed children) and hallucinating unsettling visions that land her in an isolated dark place dubbed “the bad room.” Trying to lead a more stable, normal life, Margaret mostly dismisses the horrific things Carlita speaks of, even going as far as brushing off a visiting Fr. Brennan (Ralph Ineson taking over the role with the right amount of desperation) pleading for her to take his warnings seriously.
The above mostly results in prolonged exposition for aspects those familiar with the series will already understand and one predictable narrative swerve that takes a bit too long to reveal. However, the filmmakers are also concerned with some truly disturbing body horror regarding childbirth and the ghoulish lengths a clandestine faction within the church will go to regain their persuasive stranglehold over society without any concern or second thought to violating women. Some of the more intriguing social commentary and character-driven fall off to pave the way for scares, which aren’t successful but are made up for with grotesque visual imagery.
Even if The First Omen has its storytelling shortcomings (including a pointless, misguided ending that serves no real purpose other than setting up more movies to make), it’s hellishly better than a recently released film tackling nearly all the same subject material, which is worth talking about since the theatrical landscape in which movies are released are also an important piece of the conversation. There is an undeniable sense that one is watching a filmmaking team that figured out how to flesh out their concept while also pulling a timely spin on another sinister series. The First Omen is a socially charged, diabolical effort with wicked performances and some unspeakably gross sights.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
