Shocking Revelation: ‘The First Omen’ Appeals to Diehards, but Bigger Nun Thrills Await Elsewhere!

Despite its title, “The First Omen” is not the inaugural film of the “Omen” series (the original horror classic was launched in 1976), nor is it the first attempt to revamp the franchise (that happened in 2006). In fact, it’s not even the first film this season to deal with distressed nuns and eerie pregnancies; that honor goes to March’s “Immaculate”, headlined by the unrestrained Sydney Sweeney, a movie that stands out for being more outrageous, bloodier, and ultimately more audacious.

However, “The First Omen” does possess a distinctive confidence as if it’s the only film of its kind that deals with a sinister pregnancy. Much of this can be attributed to Arkasha Stevenson, a first-time feature film director and former photographer for this newspaper, who brings a stylish touch to the movie. The film, set in the chaotic, bohemian Rome of 1971, is rich in atmospheric detail and the kind of authentic period aesthetics that only a deep-pocketed studio could afford. It creates a backdrop reminiscent of classic works like Federico Fellini’s “Roma” or, more fittingly, Dario Argento’s post-Manson masterpieces “The Bird With the Crystal Plumage” and “Four Flies on Grey Velvet.”

Margaret, played by Nell Tiger Free of “Game of Thrones”, enters this vibrant yet ominous setting as a wide-eyed novice. She is soon introduced to the typical cast of characters that naive Americans encounter in such films. These include a seemingly benevolent but clearly sinister mentor, Cardinal Lawrence (Bill Nighy), a debauched and sexually experienced roommate named Luz (Maria Caballero), who does not seem to be on the verge of taking vows anytime soon, and a creepy supervisor, Sister Silvia (Sônia Braga).

The hope is that Margaret would be able to relate to the rebellious generation that’s currently stirring up the streets. (“A rejection of authority,” Cardinal Lawrence laments, highlighting the film’s straightforward approach to dialogue.) However, most viewers will be anticipating the eerie, mechanical accidents that are a staple of “Omen” movies: rooftop suicides, revelations of the mark of the beast, and so forth. These moments do appear, and fans will likely appreciate them without being entirely unnerved.

One standout in the film is Adrien Morot, the makeup and prosthetics designer, who is also responsible for creating the terrifying robot girl in “M3GAN” and won an Oscar for “The Whale.” Morot truly excels in creating disturbing imagery of pregnant bellies; one particular nightmare-inducing scene, which surely pushes the boundaries of the R-rating, involves a clawed finger emerging from where one would typically expect to see the baby’s head. (I’m looking forward to watching this on a flight.)

It’s only a matter of time before Margaret, tottering on heels at a disco, experiences an unexplainable pregnancy that develops within weeks rather than months. It’s best not to overanalyze “The First Omen.” Its uncanny charm lies in sensory impressions: the deep, gravelly tone of “The Witch” star Ralph Ineson’s voice (a notable effect in itself) and the haunting choral notes of Jerry Goldsmith’s original score from 1976, revived to great effect.

The main issue with the film is its predictability. The audience is aware of what’s coming and can even guess the last word of the film – a boy’s name, famous even among casual horror fans. As a prequel to one of the most conventional movies of the 1970s, “The First Omen” is likely to disappoint those expecting something more innovative. It provides a backstory that wasn’t really necessary and mostly relies on suspense rather than shock tactics. However, if you’re curious to see an omen precede an omen, it should keep you engaged for a couple of hours.