The Omen

Yes, there is only one The Exorcist, and as much as the ending gives me chills, I probably won't get chills from the ending of any other movie, except... except that The Omen is just extra-class, too. And Goldsmith's music in particular. I only knew it from listening to it on my own, but only here was it so demonic that I understood why even deaf academics were finally willing to give Goldsmith the Oscar (although he should have had at least three for Planet of the Apes, Patton and Papillon). (06/22/2016)

In my opinion, The Omen does not have the same power and impact as the very similarly themed The Exorcist. There aren’t as many intense moments, nor any scene of exorcism, which is not necessarily a problem, but occasionally the film can be a bit boring. (09/22/2005)

The skillfully written plot, in which the basic concepts of Satanism are explained in a very effective way, has lost none of its captivating qualities even after all these years. The tension builds up with almost "step-like" precision and leads to the end, where the final fifteen minutes should be taught as a lesson - there were moments when I even forgot to breathe. An interesting setting with cold, grand buildings, including the ambassador's house and numerous churches, adds to the uncertain investigation of Gregory Peck, who is a joy to watch. Together with him, the film creates an almost unhealthy emotional tension, to which Jerry Goldsmith's music significantly contributes. In my opinion, The Omen is the best film of its subgenre. Nonetheless, I give it "only" four stars because horror movies with Satanic themes never really grew on me. (09/29/2005)

An amazing piece of filmmaking supported by an equally amazing music score. The story at the beginning is a bit too tedious for my taste, but things improve with every minute, and the last half hour (or rather, from the visit to the cemetery on) it’s already a five-star worthy experience. One of the most balanced horror movies I've seen, where not a single component (direction, music, actors, script) lags significantly behind the others. (05/18/2008)

In the 70s, a fashion wave of Satanism was sweeping through Western Europe and the United States, which was also fueled by genre movies, the first of which was Rosemary's Baby and then the famous The Exorcist. Similarly, in literature, in 1969, LeVey's "The Satanic Bible" was published. The producers thought it would be a good idea to jump on this train and commissioned Richard Donner to make a film based on the book of the same name. Donner used minimal tricks and special effects, but because he is a good director, he managed to create an amazing and, as later sequels and remakes showed, practically incomparable atmosphere with very economical means. Through camera movement, religious music, choir liturgical singing, and various props, he managed to materialize the idea of pervasive, insidiously advancing evil that comes with a fateful inevitability through biblical prophecies. The premonition of death is accompanied, for example, by dark lines on the photographs of people who are supposed to die. Biblical motifs announcing the coming of the apocalypse and the Antichrist are associated with a gloomy church atmosphere. A special contrast and tension are created by comparing the demonic appearance of some spiritual - effectively positive - characters with the innocence of a small child who carries evil within. The whole movie evokes the arrival of darkness, irrationality, and the destabilization of everything that has been functioning in the material world so far. The literal genius lies in the open ending when the camera lingers for a few seconds on the face of a happily smiling child. Fear comes from that smile... Overall impression: 100%. (01/19/2008)