Directed by:
John MooreScreenplay:
David SeltzerCinematography:
Jonathan SelaComposer:
Marco BeltramiCast:
Liev Schreiber, Julia Stiles, Seamus Davey-Fitzpatrick, Mia Farrow, David Thewlis, Michael Gambon, Pete Postlethwaite, Bohumil Švarc st. (more)Plots(1)
The prophecy from the Book of Revelation provides a map to a terrifying future. The passage specifically points to the arrival of the Anti-Christ and the beginning of Armageddon. Robert Thorn, a senior American diplomat, has other things on his mind. His wife, Katherine, who had suffered two previous miscarriages, has endured yet another unsuccessful delivery, but she's unaware their newborn child has died. The hospital priest, Father Spiletto, presents Thorn with another child born that night, whose mother died in childbirth. The priest compels Thorn to take the infant boy as his own. Katherine will never know the truth. Katherine embraces the child as her own, blossoming in motherhood. Thorn's career ascends. He becomes the U.S. ambassador to Great Britain, and the family settles into an estate outside London. But certain disturbing events seem to revolve around the now five-year-old Damien. The boy's nanny hangs herself at his birthday party; a strange priest brings dire warnings to Thorn; a children's trip to the zoo results in a panicked frenzy; Damien becomes hysterical during a drive to church; and blurred movements in a series of photographs portend shocking deaths. Then tragedy strikes closer to home. It's apparent that Damien is the long-prophesized Anti-Christ. Now, Thorn must make the ultimate sacrifice to prevent the unspeakable terror that awaits the world. (official distributor synopsis)
(more)Reviews (1)
Basically, it is an exact copy of the original film, skillfully set in the modern world full of mobile phones and fast cars. For someone who has not seen Richard Donner's piece, the new Omen will certainly be a solid experience, as John Moore closely follows the predecessor, even repeating some scenes in detail, so it could not be spoiled much in terms of content. However, little Damien is noticeably weaker here. Moore does not create a dark atmosphere very well, so he relies on visual explosions as much as possible, whether it's the scenes in the cemetery with the dogs or the fanatic caretaker and the care. Unfortunately, this is where the problem lies because Moore is typically an action director and some scenes are too dynamic and fast-paced with shaky handheld camera and quick cuts, which is quite disruptive considering the concept of the film. And what on earth were those pseudo-Italian sequences supposed to mean when the actors were moving around in the alleyways behind the National Theatre? A relatively unnecessary remake that at times is overly artificial and rigid compared to its predecessor.
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