Read @ Joe’s

Title: The First Omen (2024) Director: Arkasha Stevenson Writer: Tim Smith // Arkasha Stevenson // Keith Thomas Studio: Phantom Four Films // 20th Century Studios IMDb Plot: A young American woman is sent to Rome to begin a life of service to the church, but encounters a darkness that causes her to question her faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate. Joe Says: The First Omen is a sinfully good time.

Nothing gets that old Catholic guilt surging better than an inspired horror movie involving the Church, especially one set in Rome. Complete with possessed nuns, evil priests, a hellish demon birth, and plenty of pastel-colored VW Super Beetles, the horror pseudo-prequel The First Omen plays as a sinfully good time.

Set in 1970, Margaret, a novitiate prepping for her transition into sisterhood, is sent to Rome where she is assigned to the cleanest, happiest orphanage in all of Europe. Margaret befriends fellow novitiate Luz (Maria Caballero), has the blessing of Cardinal Lawrence (Bill Nighy giving a devilishly wonderful performance), and is guided under the watchful eyes of Sister Silva (Sonia Braga). What could go wrong? Right?

Yet set amongst the questioning shadows and the fresco-like wallpaper that always seems like it was caught taking a breath, there is a compelling, underlying drama. Co-written by director Arkasha Stevenson and produced by fanboy-favorite David S. Goyer, The First Omen quickly gives allowance to the character of Margaret. She learns that Luz lives it up in Rome’s nightlife as a pre-vow celebration. She gets close to the orphaned Carlita, who has her own wild streak and, similar to Margaret, is an orphan that no one seems to understand. This relationship becomes especially evident as Margaret’s own heritage is divulged and the secrets of the Church darken.

Margaret is convincingly presented by Nell Tiger Free who, coming off the M. Night Shyamalan series The Servant, seems comfortable in portraying multiple levels of creep. Stevenson stealthily unveils Margaret as an unreliable narrator. Anxiety-induced hallucinations become gauze-covered memories, not that those are of any comfort, while the voices she thinks she hears might just be annoying Latin moans mixed into Mark Korven’s humless score. Free’s doe-like eyes remain pleadingly innocent while her prayers are fervent whispers. Yet deep in the third act, when the title of this little movie is truly evoked, Free is able to beautifully, terrifyingly, shine. 

Masterfully shot by cinematographer Aaron Morton, The First Omen captures that seventies horror feel. The low, street level shots are juxtaposed with shaky aerial views and every car ride is suffocatingly grave. Rome becomes the perfect setting, too. The high pollution of the time and the civil unrest, blends with Trevi Fountain sprays and cool gelato. 

Even the underlying mystery is convincingly executed. Father Brennan (Ralph Ineson) is both a conspiring character and a convicted one. He reveals that the Church is losing its footing with the new generation. And what better way to make people holy than by unleashing the devil. With his moppish hair that is more than reminiscent of a certain Father Karras (while trying to provide some continuity with Patrick Troughton’s character) and deep Yorkshire brogue, he is persuasive in his beliefs, too. 

The First Omen spatulas its way into the Omen pie with nothing but a cursory nod to the Dick Donner classic. With blessings from above, The First Omen stands on its own cloven hoofs perfectly fine.