From Joe Peltzer

It’s always a questionable prospect when a studio announces a prequel to a film that first debuted almost 50 years ago, the originals often a relic of cinematic time that prove hard to replicate. The First Omen bucks that trend, delivering a surpassingly inspired tale that, although predictable every step of the way, rides numerous visually shocking images and clever storytelling to establish a new foundation for further IP exploration.

Arriving in Rome to devote her life to the church and take her vowels, Margaret (Nell Tiger Free) finds herself confronting a hidden evil and diabolical conspiracy that threatens to unleash unimaginable evil on the world in The First Omen. While not exactly an original concept to explore, examination of the church through the lens of a nun is a sure-thing in the horror genre, seen just weeks ago in Sydney Sweeney’s passion project Immaculate. And let’s face it, it’s clear where this prequel is going to end up, but man does The First Omen have some fun getting there. Nell Tiger Free is an absolute force, captivating in every scene as the mystery surrounding her takes hold and she descends into confused bewilderment. There are scenes in which her screams are so visceral, so expertly executed, that you’re left shaken to the core, right up until he final scenes.

Arkasha Stevenson certainly has a flair for shock value with numerous moments pushing the boundaries of both expectations and recent horror entries. Balancing suspense with the core aspects of the source material and integrating an otherworldly bestial element is a tall task for any film, yet she delivers with expertise in her first film what most filmmakers fail to ever achieve. The script could have used some tightening up; there are scenes throughout that, though important, are unnecessarily long, making for a first half that drags a bit. A strong tenant of the story being loss of bodily autonomy provides a clever connection to more modern societal issues, even with 70’s setting of the film, but beyond that we’re left with familiar ideas. Once the cat is out of the bag with the crux of the plot, however, the proverbial foot (perhaps marked with a cross here) is never taken off of the gas. 

The First Omen not only benefits from the strong lead performance of Nell Tiger Free, but the supporting roles feature actors who seamlessly meld into their characters. Bill Nighy is a charmingly effective Cardinal Lawrence while Ralph Ineson’s Father Brennan is mysteriously questionable with looks that fit the role perfectly. The nuns are all curious and mystifying, Sonia Brag’a Sister Silva and María Caballero’s Luz playing two sides of the welcoming sisterhood. 

The film itself is better than expected, but I cannot help but shake the feeling that we have seen this all before. The audience is left with the clear understanding that The First Omen is intended to establish new paths forward for a franchise that 20th Century Studios would love to continue to mine for future films, loose ends that need tying up. In a world where indie horror is having its moment and presenting new, original, exciting ideas, big studio retreads of well-worn tropes are becoming harder to digest. Give me this cast and filmmaker with a more original story and I will be first in line. As it stands, The First Omen lands as a good film that brings the story to life in creatively unique ways, but the core ideas are much of the same.

Rating: 3/5

The First Omen hits theaters on April 5th, 2024.

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