Rating: R for extreme bloodshed and violence
Run Time: 1 hour, 50 minutes
I’m a huge fan of the original “Omen” which debuted thirty years ago and imprinted itself on my psyche with viscous tenacity.
Director John Moore has re-fashioned the 1976 horror classic for a new generation, creating a near shot-for-shot remake that retains spine-chilling impact while utilizing the benefits of modern technology.
spare wife Kate (Julia Stiles) the gory details Robert agrees to the deception
and the child is christened Damien. Onward and upward as Robert rises to the
lofty ranks of American Ambassador to
Which sets off a chain of unsettling events and an impending sense of doom as both Kate and Robert reluctantly acknowledge that their child is the Antichrist and a stout course of Ritalin isn’t going to help. Add to their unease a fawning nanny substitute (Mia Farrow) who seems perversely attached to the little monster and a dogged photographer (David Thewlis) tracking the devil’s scent and you’ve got yourself a tidy little mystery.
“Omen” is a faithful re-creation slightly altered to appease a modern audience’s thirst for well-crafted gore. The scares are genuine – twitchy jumps, horrific deaths, the ubiquitous frozen graveyard -- and a handful of twisted dream sequences ratchet up the terror. Coincidence and implausibility are major players (hey, it’s a horror film).
Schreiber commands respect; both he and Stiles play it cool, letting their shock and revulsion unfold gradually. Farrow’s nanny-from-hell is pure campy delight. Fitzpatrick tosses out pre-school death glares with pouty alacrity, not a subtle bone in his little thespian body.
This “Omen” is worth the second effort.