A Profecia

Robert Thorn the American ambassador to Great Britain watches his wife's pregnancy when a priest tells him that his newborn has died, but he convinces him to substitute the baby (the wife not knowing) with another child that lost its mother in labour at the same time. Watching their young child growing up, he starts show unnerving signs, which the parents slowly start picking up on and also bizarre tragedies start occurring. This leads Robert on a whirlwind investigation that all points to his son being the Anti-Christ.

Right off the heals of 'The Exorcist' successful stint with moviegoers comes another one of those endless 70s religious themed horror flicks involving Satanism. 'The Omen', I'd definitely say is one of the better horror films in the shadow of "The Exorcist', but I'll even go to say its an vast improvement over it's influencer. That might be a surprise for some, but I found this film superior as it was more entertaining, fascinating and truly creepy in its context and shocks. Everything about it has a knack for falling into place. From the impending doom that's achieved by its coldly layered atmosphere to a premise that teases the viewer on how it's all going to play out. I won't deny that it seems silly enough when you pay close attention to it all, but with such conviction in the performances and that off confident direction, these factors makes sure that it doesn't slip overboard into cheesy daftness. Another stroke of brilliance would be Jerry Goldsmith's memorably, nerve-wrecking score with those explosive chants scattered throughout.

On a grand scale the film was efficiently catered with well established cinematography and polished set-pieces that had penetrating might, which director Richard Donner handled with precise skill. Even when there wasn't much happening he knew how to keep things compellingly tight with good pacing and impressible imagery. Though, when it came to the essential thrills, he caps off some remotely tense (dogs' attack) and macabre moments (infamous decapitation) that display bite and flair. The climax is great and the ending is a fitting imprint too. The plot is filled with shocking revelations, interesting characters and it emits a glorious amount of excitement and dread from it mysterious outset.

The performances are that of top quality by a stellar cast. Gregory Peck and Lee Remick are convincingly excellent as Mr and Mrs Thorn. David Warner turns in a marvellous performance as the photographer Keith Jennings. Then Billie Whitelaw is genuinely creepy as Damien's nanny Mrs. Baylock. Patrick Troughton is superb as the withering Father Brennan. But my applause goes to Harvey Stephens' who's the epitome of evil… well; he definitely looked the part and had a memorizing awe as Damien. Although, Peck deserves more credit really, as he brought such devotion to his character that we honestly feel the pain and confusion that hits home.

One of the true benchmarks of horror, along the same lines of 'The Exorcist', but for me it beats that film all ends up. Expect a devilishly good time!

Rightfully tense and spooky thriller from director Richard Donner that grabs its audience and does not let go until the shocking finale. American Ambassador Gregory Peck has come up with an idea after his new-born son dies at birth: he decides to pass another child off to wife Lee Remick as their own. Life in England seems grand for a few years, but as the child becomes a toddler (in the form of the young Harvey Stephens) strange murders start to occur. The child is really the son of Satan, born of a goat, and his only goal is to grow up and take over the world for his unearthly father. As the truth slowly unfolds, the film twists into disturbing murders and highly unholy situations. Not a film for the faint of heart and certainly not a perfect film, but still one of the stronger films of the usually luke-warm genre. 4 stars out of 5.

Following the heels of the success of The Exorcist, The Omen tells the story of the son of Satan being born from a mysterious pregnancy and given to a U.S. ambassador and his wife in Italy. The couple raise the young child, but things begin to happen to the couple as the boy matures. A governess hangs herself. The child acts wildly when brought near a Church. A spooky governess appears from nowhere to take care of the child. A black evil dog takes up residence at the child's bedroom. To complicate matters, a priest gets in touch with the father and tells him to beware his son and that he is the spawn of evil. The Omen works very well due to several factors. The script is generally well-written. The story is very implausable in some places, but it works on the whole. The use of powerhouse stars like Gregory Peck and Lee Remick in the leads help to give the film the royal treatment, making sure no one mistakes the budget, level of ability, and time put into this production. Peck is very good in his role as a man convinced(finally) of horrifying news. The rest of the cast does equally well with some fine performances by Billie Whitelaw as the crazed, manical governess, Patrick Troughton as the conscience-torn priest, David Warner as a helpful photographer, and Harvey Stephens as the young, sweet-yet evil looking Damien. Most of the film's success can be attributed to director Richard Donner. Donner keeps the pacing of the film tight, uses some first-rate pan shots, and creates a mood and suspense that build climatically throughout the film. Some of the scenes that are most memorable include Damien on a tricycle, Peck and Warner in a cemetery, and most famous of all is the priest's demise. A wonderfully shot sequence. The music in the film is a great asset to the overall mood. A very good film....not nearly as gory or shocking as The Exorcist but still as powerful in its own right for its seemingly somewhat realistic adaptation of scripture.

This movie plays with the intellect. It is frightening for what is not seen. From the grey overcast that blurs the skies of London and the dead stillness of the great Pereford mansion that houses the ill-fated Thorn family to the deepest recesses of civilization in the hollow underground of an ancient excavation site, the film effectively captures the viewer's interest and draws them into a world that is on the verge of the ultimate disaster - the birth of the anti-Christ.

Born into the world of politics and wealth, little Damien Thorn is the darling of the beautiful and privileged Robert and Katherine Thorn. Mysterious accidents and the overall feeling of death begin to shadow their lives until the horrifying truth of Damien's birth is uncovered millions of miles away in a grave in a decaying pagan cemetery in Italy. Gregory Peck gives a fine performance as ambitious politico Robert Thorn, a man who slowly discovers that his fate is interlinked in ancient biblical prophecy. With escalating horror, he uncovers a grand design that's unfolding under the unsuspecting eyes of the entire world - and he and his perfect family are at the centre of it. His search for the truth is one of the best in films, taking him to the farthest reaches of the globe and climaxing in an exciting and bizarre confrontation between himself and the face of evil.

Lee Remick is ethereal as his beautiful and tragic wife. The rest of the cast - Billie Whitelaw as the creepy Mrs. Baylock, David Warner as the doomed Jennings and Leo McKern as the mysterious archaeologist Bugenhagen - give the movie its singular dark and moody quality. THE OMEN has a few disturbing moments that shock rather than disgust, but the film is loaded with memorable scenes that are ingenious. It's the 'feeling' that the film incites that makes this movie unique. The haunted performances of the actors, the creepy-crawly musical score, the insinuation that doom is slowly creeping into the world with the birth of one lone child, all succeed in making THE OMEN one of the truest horror films.

Sometimes it's the knowing that something is going to happen that is more frightening than actually seeing it happen ...

Classic. You bring the devil to your film and do it well, then you're competing with The Omen as much as you are The Exorcist, which to this day are arguably still the gold standards when it comes to Beelzebub showing up on screen.

Also a benchmark for creepy music adding additional creep: Gregorian chants start as a murmur, and built to a ratcheted intensity that simply put the film way over the top in the best possible way. This was 1976, remember, so what you'll get - and I'd say as an added bonus - is the very Seventies look and feel that movies had during this very unique era.

When Peck exhumes the grave, and when the film closes with young Damien smiling, the hair on one's back shoots through the roof. The Omen is simply all-time.