The Devil’s in the details as The First Omen conceives a way to illuminate the ante-Antichrist

Not since the heady early days of Big Finish has an established narrative timeline been twisted and contorted like a prizewinning pretzel at Oktoberfest, but this prequel risks to blaspheme a horror classic in its quest to wring just one more scintilla of satanic horror from the story of the birth of the antichrist. Venturing into the gothic underpinnings of the 1976 classic, The First Omen unexpectedly succeeds in providing fresh chills while remaining devoutly faithful to its apocalyptic antecedent.

Set against the ominous backdrop of 1971 Rome, The First Omen follows Margaret Daino (Nell Tiger Free), an American thrust into the shadowy corridors of an ancient abbey. Margaret finds herself under the austere watch of Cardinal Lawrence, portrayed with insouciant gravitas by Bill Nighy. When she takes an interest in a troubled orphan called Carlita, she, along with Father Brennan (Ralph Ineson) begins to unravel a sinister conspiracy that blurs the lines between the sacred and the profane.

In the aftermath of the US Supreme Court overturning Roe vs Wade, it’s little surprise we’ve seen not one but two horror films in quick succession that shine their thematic spotlight not just on female bodily autonomy but an autonomy directly threatened by religious fanatics desperately trying to cling to power and relevance in a world that seeks to leave them behind. The First Omen and its twisted sister, Immaculate, channel that sociopolitical outrage through the allegorical lens of horror, reflecting abundantly justified fears of ideological authoritarian overreach. The films resonate deeply in a climate where personal freedoms are increasingly contested, using the genre’s visceral impact to explore and critique these issues.

Nell Tiger Free’s performance as Margaret anchors the film, her portrayal a delicate balance of naivety and revelation. Bill Nighy’s Cardinal Lawrence exudes quiet power, while Sônia Braga and Ralph Ineson add depth with their authoritative and menacing roles. Director Arkasha Stevenson’s mastery of atmospheric horror is evident, using period-appropriate details to enrich the narrative and transport audiences to a time where the battle between good and evil feels palpably real and yet as not quite as alarmingly topical as it does these days.

Cinematographer Aaron Morton captures the essence of Gothic horror with a keen eye for detail, creating a visual feast that captures the essence of dread and suspense. The integration of Giallo influences and meticulous set designs further immerses us in a world where every shadow hides a secret and every whisper carries the weight of prophecy. From the cobbled streets of Rome to the dimly lit cloisters of the abbey, each frame is infused with unease and angst, a testament to the film’s dedication to its chilling aesthetic.

If anything, though, The First Omen grants itself a little too many indulgences, resulting in a somewhat languid pace. Its near two hour run time feels a little meandering, potentially testing the patience and feeling stretched as it chases down each strand of the conspiracy with maybe one or two red herrings too many. Yet Stevenson manages to make the perennial problem of the prequel work in this instance, crafting a compelling chronicle despite the predestined outcome of the Antichrist’s emergence.

The film successfully integrates into the mythology of The Omen while standing on its own as a compelling tale of theological terror. Although the original film already detailed Damien’s origins, The First Omen carefully crafts a narrative that respects the established timeline while creating a viable avenue for future instalments to run in parallel to Damien’s journey. This prequel avoids the sense of redundancy that plagues many a franchise refresh by offering new perspectives and deeper insights into the origins of the horror that culminates in Damien’s dark nativity.