Year: 2024

Runtime: 119 minutes

Director: Arkasha Stevenson

Writers: Arkasha Stevenson, Tim Smith, Keith Thomas, Ben Jacoby (Story By)

Starring: Nell Tiger Free, Ralph Ineson, Bill Nighy, Sonia Braga, Nicole Sorace

By Tom Moore

On paper, “The First Omen” – a prequel to the 1973 horror classic “The Omen” – should’ve been another failed attempt at trying to revive a well-known horror IP. After all, it doesn’t feature the franchise’s iconic protagonist Damien whatsoever and wasn’t exactly promoted in any big way to make the film feel special. Yet, “The First Omen” is far better than most would expect as it provides genuinely mind-bending terror the franchise hasn’t seen in quite some time.

The prequel takes viewers back to 1971 where an American novitiate named Margaret (Nell Tiger Free) seeks to become more devoted to God by visiting a Catholic orphanage in Rome. Unfortunately, Margaret slowly loses her grip on reality as she discovers a terrible plot within the Church to birth the Antichrist. Soon, she becomes ensnared in a horrifying mystery and realizes that her presence there is more than just a coincidence. To be frank though, the “mystery” Margaret deals with throughout “The First Omen” might be its weakest element.

Now, the whole puzzle Margaret tries to figure out involving this evil sect who believes they can control and influence the Devil’s spawn isn’t without its interesting aspects. Honestly, there are times where it establishes some intriguing lore that fans will like, and it gives franchise veteran Father Brennan (Ralph Ineson) a more compelling role. It has enough meat on its bones to be enjoyable, but it generally heads in a predictable direction that audiences will see from miles away. Margaret’s hidden purpose quickly becomes clear, and it makes the eventual reveal not surprising in the slightest.

Also, ironically, “The First Omen” is at its best when it’s not frantically trying to connect itself to future installments. To no surprise, there are references and story hints dropped throughout the film that tie to the rest of the series. Some of them are cool or are given a different spin – like a memorable death scene from the original returning in a fresh way – but it mostly feels forced. It’s a big reason the finale doesn’t land as well and unnecessarily extends in ways that drag on. It’s almost like the film runs out of time and then suddenly shoves as many hints as possible of what’s to come in the final moments. It’s where the film heads into generic prequel territory and is glaringly weaker than other parts of the experience.

“The First Omen” is actually at its best when writer/director Arkasha Stevenson and lead actress Nell Tiger Free are given free rein to bring something original to this franchise. When it comes to horror, Stevenson shows a distinct vision that’ll leave audiences on-edge throughout. Her use of unsettling audio that drifts through the background greatly builds up the film’s atmosphere. It’s a pivotal way the film constantly draws audiences in only to leave them shook just seconds later. The moans heard throughout Mark Koven’s score get deep under your skin and create this larger presence looming over Margaret. The technical prowess that Stevenson shows in delivering these consistently strong horror vibes is very impressive and really makes “The First Omen” an experience that slowly escalates its terror throughout.

However, it’s the disturbing creativity she shows in the film’s body horror that really leaves its mark. Now, “The Omen” movies never shy away from delivering gut-wrenching moments or even gory kills. Yet, Stevenson cranks up the dial with “The First Omen.” Her ability to turn the “miracle of childbirth” into the most sickening and twisted nightmare you’ve ever seen is instantly iconic. Seriously, there’s a sequence with a demonic arm coming out of a place no one expects that’ll shock, disgust, and instill fear in every single person in the theater. The entire last stretch goes to greater lengths to deliver some striking body horror and makes a memorably mortifying impact. Even better, Stevenson makes the last act an inescapable nightmare finale where you know all the awful things that are about to happen but are powerless to stop it – which is key to overcoming the obstacles of a predictable prequel. It’s the type of unhinged horror that audiences are not ready for and fans of this franchise will be thrilled to see.

Stevenson’s style of horror also seeps into the film’s themes perfectly and there are some really nice, thought-provoking threads to chew on. Ideas tied to body autonomy and conspiracy are nicely weaved throughout and stay incredibly relevant. Yet, it’s the connections to change and tradition that stand out the most. Stevenson does an excellent job utilizing the protest movements and changing mindsets of the time to help build up this fear and paranoia within the Church that influences a greater purpose. It not only results in some unique depictions of women within the Catholic Church and some striking shots that mix light and dark, but also make this evil plan that’s unfolding more compelling. It acts as the backbone to this developing villainous force that Margaret’s forced to work against and oddly grounds the narrative in a great way.

As for Free, she acts as the film’s powerful centerpiece – making Margaret a new character that longtime fans will love. Her relationship with a troubled orphan named Carlita (Nicole Sorace) is a warm aspect to Margaret’s depiction and her openness is what audiences will quickly like about her. Not to mention, her persistence will only drive viewers deeper into the plot she discovers, and they’ll connect to the inquisitiveness and genuine horror that Free displays. Free’s performance goes to new heights though when she eventually flips the switch and delivers a captivatingly disturbing performance. There’s a moment where Margaret totally loses herself later in the film and Free matches the unhinged nature of Stevenson’s horror flawlessly. It’s impossible to turn away from – which makes it so much more terrifying – and greatly flexes the range and commitment Free has.

Stevenson and Free are a winning combination that “The Omen” franchise desperately needed as they make “The First Omen” the biggest surprise of 2024 thus far. Together, they deliver a jump start that fans and newbies can equally enjoy while delivering gut-wrenching, gory terror that’ll leave audiences stunned. Best of all, it does what all prequels strive to do – subvert enough expectations to firmly place itself as a strong and watch-worthy entry in a well-established legacy.