Une jeune Américaine est envoyée à Rome pour commencer une vie au service de l'Église, mais elle est confrontée à des ténèbres qui l'amènent à remettre sa foi en question et à découvrir une ... Tout lireUne jeune Américaine est envoyée à Rome pour commencer une vie au service de l'Église, mais elle est confrontée à des ténèbres qui l'amènent à remettre sa foi en question et à découvrir une terrifiante conspiration.Une jeune Américaine est envoyée à Rome pour commencer une vie au service de l'Église, mais elle est confrontée à des ténèbres qui l'amènent à remettre sa foi en question et à découvrir une terrifiante conspiration.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 4 victoires et 19 nominations au total
Sonia Braga
- Sister Silva
- (as Sônia Braga)
Ishtar Currie-Wilson
- Sister Anjelica
- (as Ishtar Currie Wilson)
Avis à la une
Kudos to the filmmakers for having the guts to do a straight up prequel to such a classic horror film. Rather than another re-boot, the events in The First Omen take place directly before the classic film.
The film is delightfully creepy and weird, including a sequence that legitimately gave me goosebumps. Fantastic cinematography and atmosphere actually makes the film feel like it could've come out in 1971.
Not only does it give context to the original but also answered some lingering questions I had after watching the original. A prequel that is not only worthy, but actually feels necessary.
The film is delightfully creepy and weird, including a sequence that legitimately gave me goosebumps. Fantastic cinematography and atmosphere actually makes the film feel like it could've come out in 1971.
Not only does it give context to the original but also answered some lingering questions I had after watching the original. A prequel that is not only worthy, but actually feels necessary.
Between The First Omen and the Sydney Sweeney vehicle Immaculate, 2024 is the lucky year for anyone who happens to really dig neo-nunsploitation horror films that partly function as a commentary on anti-choice dystopia and religious subjugation. Aficionados of all things spooky are inclined to pit the two films against each other as "rivaling pictures", à la Deep Impact vs. Armageddon (in 1998) or Drive-Away Dolls vs. Love Lies Bleeding (also this year), but I think it's better to view occasions like this as a double treat.
I will say this, though: Despite my adoration of Sweeney's performance (mainly near the film's finale), I hold that The First Omen is the superior movie, not only because it leans harder into both the nunsploitation campiness and the psychological Rosemary's Baby-esque side, but because it is more consistently disturbing -- beautifully so. I also think the themes are delivered with more tact and confidence but it's really no surprise that both films are being celebrated as "necessary" post-Roe v. Wade masterworks (though Immaculate deserves extra cred for upsetting more Christian conservatives, namely in how it "took" Sweeney from them).
The First Omen, if you hadn't figured, is a prequel to Richard Donner's Omen from 1976. I haven't seen that movie myself and as sacrilege as this confession may sound, I actively chose to see this movie first to see if it works by itself and makes sense to an outsider. And apart from a vaguely "Member Berry"-ish namedrop at the end (and whatever other references I surely missed), I believe The First Omen stands more than fine on its own.
From the moment it starts, its cinematography, staging, and editing are worthy of the classics -- encapsulating the beauty of '70s cinema in just a few minutes, to paraphrase a commenter -- and this is only the beginning of the film's thoughtful homages. To be clear, these aren't just facile invocations; they all work. There is a scene later that recalls the iconic breakdown sequence from Andrzej Zulawski's Possession (1981), but it's "expanded" upon in ways I shan't unveil here.
Right after that prologue -- that shot of stain-glass window shattering in slow-motion -- the film takes on an ominous energy that never lets up, even during ostensible moments of levity. There are several other striking images and inspired bits of cinematography throughout the film, like when the main character awakens from a drunken stupor in a medium closeup shot that shows her hair laid out like a spider's web holding her head in place. Note that the shot immediately preceding it is of a spider. There are, fittingly, omens everywhere.
The acting is also pretty spectacular. Nell Tiger Free, playing an American Catholic woman sent to Rome to be confirmed as a nun, is destined for the Scream Queen Hall of Fame and Ralph Ineson's booming voice adds weight and urgency to his fearful warnings of what the Church is up to.
Mark Korven's music is no less brilliant. It, too, makes us feel as though we are truly watching a movie from the '70s, albeit with more advanced special effects that, without giving too much away, caused the film to nearly get slapped with an NC-17 rating.
What holds the movie back a little bit is that it has a few weak supporting performances and, more importantly, it fails to resist jump scares -- which I concede can work fine and leave an impact, but The First Omen has a few of the fakeout variety. Don't let this stop you, however. This is a superbly crafted, well-acted, well-lit (hallelujah), and thoroughly ghastly tale that works on one level as a statement on choice (as well as the abuses within the Catholic Church) and another as a nasty yet artful horror movie.
I will say this, though: Despite my adoration of Sweeney's performance (mainly near the film's finale), I hold that The First Omen is the superior movie, not only because it leans harder into both the nunsploitation campiness and the psychological Rosemary's Baby-esque side, but because it is more consistently disturbing -- beautifully so. I also think the themes are delivered with more tact and confidence but it's really no surprise that both films are being celebrated as "necessary" post-Roe v. Wade masterworks (though Immaculate deserves extra cred for upsetting more Christian conservatives, namely in how it "took" Sweeney from them).
The First Omen, if you hadn't figured, is a prequel to Richard Donner's Omen from 1976. I haven't seen that movie myself and as sacrilege as this confession may sound, I actively chose to see this movie first to see if it works by itself and makes sense to an outsider. And apart from a vaguely "Member Berry"-ish namedrop at the end (and whatever other references I surely missed), I believe The First Omen stands more than fine on its own.
From the moment it starts, its cinematography, staging, and editing are worthy of the classics -- encapsulating the beauty of '70s cinema in just a few minutes, to paraphrase a commenter -- and this is only the beginning of the film's thoughtful homages. To be clear, these aren't just facile invocations; they all work. There is a scene later that recalls the iconic breakdown sequence from Andrzej Zulawski's Possession (1981), but it's "expanded" upon in ways I shan't unveil here.
Right after that prologue -- that shot of stain-glass window shattering in slow-motion -- the film takes on an ominous energy that never lets up, even during ostensible moments of levity. There are several other striking images and inspired bits of cinematography throughout the film, like when the main character awakens from a drunken stupor in a medium closeup shot that shows her hair laid out like a spider's web holding her head in place. Note that the shot immediately preceding it is of a spider. There are, fittingly, omens everywhere.
The acting is also pretty spectacular. Nell Tiger Free, playing an American Catholic woman sent to Rome to be confirmed as a nun, is destined for the Scream Queen Hall of Fame and Ralph Ineson's booming voice adds weight and urgency to his fearful warnings of what the Church is up to.
Mark Korven's music is no less brilliant. It, too, makes us feel as though we are truly watching a movie from the '70s, albeit with more advanced special effects that, without giving too much away, caused the film to nearly get slapped with an NC-17 rating.
What holds the movie back a little bit is that it has a few weak supporting performances and, more importantly, it fails to resist jump scares -- which I concede can work fine and leave an impact, but The First Omen has a few of the fakeout variety. Don't let this stop you, however. This is a superbly crafted, well-acted, well-lit (hallelujah), and thoroughly ghastly tale that works on one level as a statement on choice (as well as the abuses within the Catholic Church) and another as a nasty yet artful horror movie.
How can a prequel of a classic directed by a first timer (at least when it comes to feature films) be this good???
The First Omen is a must watch for it's cinematography alone. Adding Nell Tiger Free as the incredible lead, eery body horror, spectacular sets and costumes and the feeling of 70s cinema.
It might be a tid bit too long and the whole Dan Brown-esque scavenger hunt wasn't fully working, but damn is it fun and just beautiful to watch.
Arkasha Stevenson did the original Omen justice.
I have to compare it to Immaculate since it's basically the same story, but so much better! Go watch this instead, trust me.
The First Omen is a must watch for it's cinematography alone. Adding Nell Tiger Free as the incredible lead, eery body horror, spectacular sets and costumes and the feeling of 70s cinema.
It might be a tid bit too long and the whole Dan Brown-esque scavenger hunt wasn't fully working, but damn is it fun and just beautiful to watch.
Arkasha Stevenson did the original Omen justice.
I have to compare it to Immaculate since it's basically the same story, but so much better! Go watch this instead, trust me.
Easily one of the best horror prequels. The original Omen is an all time classic, and this is a great follow up. The film revels in mashing up genres: body horror and gothic church horror. Well paced with a good cinematic moment.
Synopsis: When a young American woman is sent to Rome to begin a life of service to the church, she encounters a darkness that causes her to question her own faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.
When a young American woman is sent to Rome to begin a life of service to the church, she encounters a darkness that causes her to question her own faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.
Synopsis: When a young American woman is sent to Rome to begin a life of service to the church, she encounters a darkness that causes her to question her own faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.
When a young American woman is sent to Rome to begin a life of service to the church, she encounters a darkness that causes her to question her own faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.
In a world of prequels and frenchise universes this movie has been one I didn't wait for or did expect.
Especially after the 2006 Omen remake.
The story is not full of surprises. We always heard of Damian's birth, his real mother, the jackal. Now asome creative people wrote the story and brought it to life.
What to say? It's what you expect in the year 2024. But wait. It's more. Or better said: less!
It's a modern flick but in the style of the 70s. No jump scares. Just a good horror stories told in a decent way. The first death scene was something I haven't seen in a long time. An unexpected kind of killing and dying. But even more impressive. Not the usual "He's dead Jim" bloody jump scare death. More a "what the heck!? Really?" scene which keeps you mouth wide open.
And the movie continues this style of story telling and unexpected kills and how the people die. All in time without rush.
All in all this movie is doing things right other modern franchises are missing. A good story, people with patience and creativity who gave us something familiar from the past in times we only rush threw life.
Especially after the 2006 Omen remake.
The story is not full of surprises. We always heard of Damian's birth, his real mother, the jackal. Now asome creative people wrote the story and brought it to life.
What to say? It's what you expect in the year 2024. But wait. It's more. Or better said: less!
It's a modern flick but in the style of the 70s. No jump scares. Just a good horror stories told in a decent way. The first death scene was something I haven't seen in a long time. An unexpected kind of killing and dying. But even more impressive. Not the usual "He's dead Jim" bloody jump scare death. More a "what the heck!? Really?" scene which keeps you mouth wide open.
And the movie continues this style of story telling and unexpected kills and how the people die. All in time without rush.
All in all this movie is doing things right other modern franchises are missing. A good story, people with patience and creativity who gave us something familiar from the past in times we only rush threw life.
Le saviez-vous
- Anecdotes(at around 8 mins) When Maggie arrives in Rome, Cardinal Lawrence explains to her that there are ongoing riots between the Italian citizens, motivated, among other things, by students dissatisfied with the state and the Holy Church. This is historically accurate: after the social revolution of Paris in May 1968, this extended to other countries in Europe. In Italy it lasted from 1969 to the late 1980s, a period known in the country as the Years of Lead.
- GaffesThe film takes place in June 1971; however, in the original La Malédiction (1976), the birth of the child took place one year earlier, in 1970. This is established when Ambassador Thorn and Jennings open the tomb of Maria Scianna and her child: the date of death on the tombstone is VI VI MCMLXX (6/6/1970 in Roman numerals).
- Citations
Father Brennan: [from trailer] How do you control people who no longer believe? You create something to fear.
- ConnexionsFeatured in Half in the Bag: Top 10 Horror Movies (2024) Part 2 (2024)
- Bandes originalesSospesi Nel Cielo
Written by Ennio Morricone
Performed by Ennio Morricone, I 4 - 4 Di Nora Orlandi
Courtesy of Decca Music Limited
Under license from Universal Music Enterprises
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- How long is The First Omen?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langues
- Aussi connu sous le nom de
- La primera profecía
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 30 000 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 20 092 802 $US
- Week-end de sortie aux États-Unis et au Canada
- 8 353 710 $US
- 7 avr. 2024
- Montant brut mondial
- 53 845 880 $US
- Durée1 heure 59 minutes
- Couleur
- Rapport de forme
- 1.85 : 1
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What was the official certification given to La Malédiction : L'Origine (2024) in India?
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