Admittedly, being released in theaters a month after Immaculate, The First Omen can almost be accused of being derivative, with similar protagonists, plots, and themes. However, unlike Immaculate, this film captures a bit of the 1970s horror style that was best seen in the original 1976 Omen film, with the paranoia, the investigations, the Eastman Kodak-inspired color grading, and the number of the devil now depicted in striking modern images and clearer digital definition. And, considering that the Roe decision was overturned two years ago, the idea of a forced virgin conception is a great way to reintroduce Gen Z to the horror franchise, as the prequel, and today’s women, now have to deal with religion and authority reducing women only into vessels. The First Omen is a timely adaptation that takes familiar horror tropes and executes them well.
"If horror is all about loss of control, about feelings of helplessness conjured in the audience to reflect the helplessness of the characters, then this is a true horror film."
— Bilge Ebiri
"The rare prequel (sequel, requel, what have you) that fits seamlessly inside the existing franchise and makes tracks toward a chilling new future. In short, it births something new and genuinely scary. Remember when that wasn’t so rare?"
— Alison Foreman
When a young American woman is sent to Rome to begin a life of service to the church, she encounters a darkness that causes her to question her own faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.
After being sent to Rome, American novitiate Margaret Daino starts to teach at an orphanage run by the Catholic nuns, and uncovers a terrifying conspiracy that hopes to bring about the birth of the Antichrist.
The score and sound design is just so scary, I’m actually considering dousing my ears in holy water.
The First Omen being good is, ironically, a pretty good omen for filmmaking today, even if it is part of a franchise.
