REVIEW: ‘The First Omen’ Pays Respects To Its Legacy

Horror prequels come with mixed feelings despite previous successes. Some have proven to be informative or franchise-changing. Take Annabelle, for example, and how it shifted The Conjuring Universe by diving into the Warrens’ relics. Or, the more recent Prey, which took viewers back in time and gave a fresh twist to the Predator franchise we know and love. That doesn’t mean there isn’t some trepidation to be had upon seeing a prequel greenlit. Cast aside your concerns with The First Omen. With its various nods toward its predecessors, impactful visual imagery and symbolism, and new additions to the lore, it successfully builds upon the old while giving us more to feast upon—and it stars Nell Tiger Free.

The opening scene sets the stakes for what will come and lets viewers know that director/co-writer Arkasha Stevenson did not come to play with The Omen homages. A foreshadowed death and the arrival of Father Brennan (Ralph Ineson) immediately provide the connective tissue to immerse fans in this world again. While his inclusion is a bit of a retcon, Ineson plays the role with such lived-in familiarity that these changes are easily forgiven.

The reveal of a cult trying to birth the Antichrist segues to Margaret Daino (Nell Tiger Free). She is a novitiate. Set during post-Vatican II, against the backdrop of Rome, Italy’s “Years of Lead,” Margaret encounters the country’s natural tension that never dissipates. This tension resides in the background long before the horror kicks into gear.

Margaret is innocent of the ways of the world; she’s not Mary Magdalene. All she knows is the church, a life of service, and that she’s different. She must control the parts of her that are different to become a nun. But there are many temptations in the church, a slow-growing darkness that seems ready to swallow her whole. As the terrifying conspiracy surrounding the Vizzardeli Orphanage and Sister Silvia’s (Sônia Braga) intentions grows, so does the horror. While some twists are more obvious than others, one question lingers throughout the film – can Margaret survive?

From the jump, it is clear Stevenson and Co. are fans of the The Omen franchise—or, at the very least, have done their research. Clear lines are drawn from the various films, giving fans plenty to flail about. These Easter Eggs aren’t wholly necessary for people to know going into The First Omen. That said, they add a little special sauce to the story.

One major storyline reveal is easy enough to predict early on. This is the blessing and curse of The Omen‘s influence on the genre over the decades. However, what Stevenson and co-writers Tim Smith and Keith Thomas (Firestarter) have baked in adds an extra layer to the stakes. It also further highlights the inherent hypocrisy of the Church and the lengths those in power will go to maintain their stronghold.

The screenplay’s dissection of authority, entitlement, and claim over women’s bodies is timely. Stevenson’s influence on these subjects is clear and markedly different from that of the competing nun film Immaculate. While ratings are a factor in how certain scenes are executed, women’s pain is not wholly up for display here. Stevenson’s direction and Aaron Morton’s lens paint a sense of voyeurism without being intrusive. Whether switching from Margaret’s perspective to an outsider p.o.v., there’s always a sense someone is watching.

Morton’s cinematography, particularly his framing, further enhances this. Certain shots capture this foreboding, monstrous, dark viewer from afar. Nowhere feels safe. It’s seen through the looming maw of a monstrous creature reflected in the church candles. The discombobulated slow-motion horror of a protest gone awry. Through the dispassionate gaze of a crowd of religious elders. The intent and purpose of each shot shine through, even as the darkness encroaches further into Margaret’s life.

The horror exhibited ranges from jump scares to viscerally gleeful gore that dares you to look away. While it can be argued that certain elements could have been more brutal, certain executed scenes have purposeful intent. The implication of the horror in certain scenes is more nerve-wracking than what could have been if violence had been more explicitly shown.

As for Margaret herself, Nell Tiger Free’s performance is one of commitment. Though, for fans of her turn in M. Night Shyamalan’s Servant series, the arc may feel familiar. While the gradual descent into madness is commendable, one particular scene, ala Possession, stands out. It is long and drawn out, purposefully going out of its way to make viewers squirm. It is necessary and worth the price of the movie ticket.

The rest of the cast proves just as commendable, each matching in energy and drive with Free. Ralph Ineson’s Father Brennan is uncanny. He is world-weary and not yet possessed by the fear and self-preservation of the original character. His place fills a necessary gap and provides the connective tissue to match this prequel with the original film.

Most fascinatingly are the memorable performances of Ishtar Currie-Wilson, Maria Caballero, and Nicole Sorace in The First Omen. While arguably the least experienced of their fellow cast members, they more than come up to the plate. Caballero’s Luz Valez is confident and assured, providing the perfect contrast to the more naive, insecure Margaret. Nicole Sorace‘s Carlita carries a mature energy, creating a natural sense of otherworldliness that matches the slow-rising conspiracy surrounding her. As Sister Anjelica, Ishtar Currie-Wilson gets much less screen time than her counterparts. However, with what little time she has, Currie-Wilson leaves a major impression and smacks viewers across the face with the most obvious homage of them all.

Unfortunately, The First Omen doesn’t make much use of Bill Nighy‘s casting. Nor does his character feel fully realized. His character is mostly there to be a figurehead. This particular bit isn’t as much of an issue, except there’s supposed to be this deep connection between him and Margaret. This isn’t explored or developed enough to justify it being mentioned at all. And, by the film’s third act, the mention reads hollow.

With that said, The First Omen pays tribute to its predecessors while laying down the pathway for the future. It more than justifies the reasons for its existence while incorporating new horrors to make audiences squirm. By the time the credits roll, The First Omen will have you thinking about the hypocrisy of the powers-that-be, bodily autonomy, and then some with this fitting prequel.

The First Omen is playing in theaters nationwide now.