One of the best of the Satanic subgenre of horror films. Made in 1976, the movie dates well for the most part, with few of the horrendous fashion mistakes that make so many 70s films unintentionally campy. It has all the trademarks of the genre: a pseudo-Gregorian chant score and lots of Catholic mysticism (why aren't the Southern Baptists or the Presbyterians ever the only thing standing between humanity and Satan? Maybe it's because they don't have the black clothes or suitably lavish places of worship).
Still, the movie suffers from serious flaws that keep it from being entirely successful.
What works is a nicely turned performance from Gregory Peck as the "father" of the child Damien, who turns out to be the embodiment of the antichrist. Following a few mysterious deaths and some warnings from a frankly creepy Catholic priest, he becomes aware that his five year old child may be more than he appears.
Billie Whitelaw also seems creditably spooky as the nanny in the service of satan.The sets and cinematography are nice, although the soundtrack leaves much to be desired.
What doesn't work is a phoned-in performance from Lee Remick, who in all fairness has absolutely nothing to do in this movie. She's missing all of the coquettishness that made her so attractive in her best work, and even in the early part of the movie acts like she'd rather be anywhere else.
[Minor spoilers here.] The script, extensively rewritten by director Richard Donner, was probably improved over the original, however, there are some gaping plot holes that manage to rob the film of its believability. The chain of evidence that leads Peck to believe that his child may be the antichrist is particularly tenuous, considering the implications: it's hard to imagine anyone leaping to the conclusions that he does. In another example, when Peck is in Italy following the clues given him by the creepy priest, he gets the news by phone that his wife has died, however, rather than hop the next plane back to London, he jets off for Jeruslaem.
Flaws aside, The Omen may not be a classic, but it's a watchable, and depending on your ability to believe in Biblical prophecies, pretty scary film.
Still, the movie suffers from serious flaws that keep it from being entirely successful.
What works is a nicely turned performance from Gregory Peck as the "father" of the child Damien, who turns out to be the embodiment of the antichrist. Following a few mysterious deaths and some warnings from a frankly creepy Catholic priest, he becomes aware that his five year old child may be more than he appears.
Billie Whitelaw also seems creditably spooky as the nanny in the service of satan.The sets and cinematography are nice, although the soundtrack leaves much to be desired.
What doesn't work is a phoned-in performance from Lee Remick, who in all fairness has absolutely nothing to do in this movie. She's missing all of the coquettishness that made her so attractive in her best work, and even in the early part of the movie acts like she'd rather be anywhere else.
[Minor spoilers here.] The script, extensively rewritten by director Richard Donner, was probably improved over the original, however, there are some gaping plot holes that manage to rob the film of its believability. The chain of evidence that leads Peck to believe that his child may be the antichrist is particularly tenuous, considering the implications: it's hard to imagine anyone leaping to the conclusions that he does. In another example, when Peck is in Italy following the clues given him by the creepy priest, he gets the news by phone that his wife has died, however, rather than hop the next plane back to London, he jets off for Jeruslaem.
Flaws aside, The Omen may not be a classic, but it's a watchable, and depending on your ability to believe in Biblical prophecies, pretty scary film.