'The First Omen (2024)' is surprisingly good for a prequel to a horror classic. It's also remarkably similar to 'Immaculate (2024)', to the point that one would seem to have ripped off the other if it had been released significantly later (the tiny gap between the two films' release dates indicates a case of parallel thinking, rather than plagiarism). Its most valuable asset is its direction, which makes use of assured cinematography and measured pacing to deliver some really well-achieved sequences that are typically as unsettling as they are atmospheric. The picture is often dripping with dread, evoking this intangible sense that what you're seeing is actually evil. With an unrelentingly ominous soundtrack, some really confronting imagery and the overall texture - both aesthetic and narrative - of something straight out of the seventies, the film carves its own unholy mark on the genre and is often really compelling (even during its more obviously silly moments). Its pacing does wane slightly in its second act, and its central mystery - or, at least, where it's heading - is unfortunately really obvious if you've seen 'The Omen (1976)' (or even read the tagline). I guessed the movie's major twist within the first few moments, for instance, and being ahead of the narrative doesn't do the experience any favours considering its enigma is pretty much its main driving force. Even if you aren't able to see the reveal coming, the film's main problem still has a strong impact. The issue is that it has to tie in to the original, which severely diminishes the potential - and power - of its third act. The finale just feels incredibly boxed in, and it doesn't help that the flick isn't content to just strongly imply. Instead, it feels the need to spell out, with a rushed epilogue that ends on a namedrop that's intended to carry weight but actually just feels weird. It's not as if the rest of the movie is exactly subtle, but the climax feels like a total sledgehammer in the worst possible way (not in terms of its in-universe implications, but its meta ones). It's bending to the studio's idea of what it needs to be, rather than what it it's been naturally building towards. However, this obviously top-level interference isn't enough to significantly reduce the overall effectiveness of the affair. It's still a really accomplished in-the-moment experience, despite its legitimate narrative issues. The direction really is rock-solid, as are most of the performances, and there's a palpable sense of foreboding throughout. A lot of the set-pieces are rather unsettling, too. It's ultimately a strong effort that suffers most from being part of a wider franchise, yet is also far better than you may expect an entry in said franchise to be. If its third act was a little better, it could have been great. As it is, it's still really good.
Review of The First Omen
