The Omen (TV pilot - 1995)

Scientifically evil

By: JWBM

Instead of being born to evil, or being just another relative to Damien Thorn, the premise of this short lived '90s TV pilot is going for a kind of "ER" meets "Outbreak" vibe, though with a sort of unexplainable possession angle to tie in the mediums. The tone is going for a cross between scientific and spiritual, with it being more of the former. An evil force is capable of traveling from person to person with mixed results: some inexplicably die, some live long enough to do some kind of malicious deed, and others fully embrace the force and turn into evil masterminds to carry out maximum chaos and carnage. A hard-nosed reporter who's wife mysteriously died years earlier, a professor of epidemiology, an all-knowing old man on the hunt, and a nurse recently in a coma find themselves with a commonality at a hospital in Boston that has a military secret about to be unleashed if not for some keen intervention.

Not all TV pilots are fully fleshed out. Like a potential date, they are essentially an overview of what's to come: it might not be love at first sight, though great things may come from it if you stick around from some initial characteristics that stand out. I feel like the filmmakers here gave it their best go for the material at hand. The story has a steady pace to it, the actors show some feeling behind their roles, and there's potential for more to come. The action at points felt a little rocky, such as a reporter going from do-what-it-takes-to-get-the-scoop, to John McClane responsive and being a pivotal force to stop dark entities from having their way. The biggest hang-up, though, is that this has little to do with "The Omen" franchise. It was a wild and fresh idea from anything before, no doubt, however it feels like it was also trying desperately to keep up with the times of what was happening in '95 with the medical and scientific approach over a more good versus evil one of the '70s when the first was released. Yet, it still felt more entertaining than the fourth in the series if that tells you anything.

Rating: 5/10

Director: Jack Sholder (The Hidden, A Nightmare on Elm Street 2)
Actors: Brett Cullen, William Sadler, Chelsea Field
Info: IMDB link
Trailer: Youtube link

The Omen Legacy (2001)

Tales of eerie coincidences and prophetic alignments

By: JWBM

Up to the point of this documentary, "The Omen" series—four films, and a stand-alone TV pilot—proved to be a mixed bag. Hands down, what catapulted the idea and cemented it into the minds of the general public as a dark force not to be reckoned with, was the first film, which—after four decades—still holds up to this day. The others came with their own moments to shine in the darkness, along with areas that should have remained in an unseen idea drawer.

The format of the documentary takes on each incarnation with a sort of scene by scene reshowing to recount the motivations, reasons, and the unexpected that came before, during, and after filming was a wrap. In some respects, it demystifies some of the movie-making magic, while other tid-bits seem to add more mystery to the overall dark aura of the franchise. Anything from Donner's technical input into Katherine Thorn's  infamous fall from the banister, to David Warner's almost superstitious aversion to seeing his character of Jennings decapitated through realistic looking means at that time. Some of the shots of the first film initially being released were interesting to see: how it could have been a huge success, or a flop to audiences at that time. This was back in a period when you were doing something new and daring and then having to create a market for that as well. Something the remake 30 years later didn't have to do. There's still some honesty from some of those interviewed, such as Lance Henriksen—who starred in the second film—going on to say that the producers were looking for anything out of the ordinary to use in their marketing campaign to upsell the films.

"The Omen Legacy" is more of a glossed over retelling than a deep analysis. It's much more for someone to get inspired to watch the films again, versus someone who has them fresh in their mind to then watch this after. You can see the enthusiasm and feel the aura surrounding the films, though if you're looking for something to knock your socks off after experiencing these films several times over, the content feels lighter than you'd expect for an hour and forty minute documentary.

Info: IMDB link

DVD extras include: trailers for films 1-4, plus a seven minute promotional of "Damien: Omen II." 

Omen IV: The Awakening (1991)

A spit in the eye to righteousness

By: JWBM

"For many deceivers have gone out into the world, those who do not confess the coming of Jesus Christ in the flesh. Such a one is the deceiver and the Antichrist." - 2 John 1:7

There are those, like myself, that wanted to see the series through. We clung to the edge of our seats with morbid fascination as the story of Damien Thorn unfolded: with those close enough by his side to feel the flames, or with those left to the cold trail on his path towards total superiority. What was thought to be a final chapter in the early '80s, spawned into a fourth part in '91 with a made for TV movie produced by Harvey Bernhard of the first three films.

Jumping right into it with a young and hopeful couple mysteriously unable to have kids, they head to local church to adopt what they think is God's little, innocent gift to their home. Soon enough, the wife, Karen, becomes suspicious that her little bundle of joy could be a basket of ruin when people inexplicably end up dead. Similar to the first and second film, the husband is connected in politics and begins to set the stage for their less-than-holy child, Delia, to possibly someday go from high chair to a throne of dark power.

"Omen IV" took the platform from the first and essentially attempted to do an updated version from the early '90s with a few different variations. Though instead of coming across as edgy, it's as if they forget to sharpen the knife. Cuts are eventually made, but it makes for a jagged, silverware-against-polished-porcelain noise that's cringing to the senses. On paper I'd imagine this looked to be another worthy addition to the franchise, however, played out, it doesn't have a flowing personality to it. Rather, it feels like a concocted persona imitating its parent: the result being a disjointed experience that's noticeably pieced together; like a collection of scenes, rather than a cohesive picture that flows as one unified experience.

What made the original film so great was that it was a simple story that played on moral fears, along with a dividing point of how far we would go to love and protect our child despite the implications or odds. What once was fresh and ferocious as an idea of having a little monster in your midst you'd never suspect, feels tired and lacking in imagination beyond the square box it made itself home to here. The film never makes you suspend your disbelief even for a second. It feels too comfortable—like a co-worker that's become complacent enough to shamelessly turn in shoddy work and shadow right behind everyone else.

There was a switch of directors at some point. If I had to guess, it was right up to the point they went to the psychic fair—you read that right. There's more overacting, and downright silly moments going on—wordless, cartoonish bulging eyes to boot—to lose the audience in one fell swoop. If Time were embodied, the rest of the experience can be summed up as about as exciting as crawling through a rose garden in the dark with a person just out of reach talking out of order. The score has tendency to feel intrusive to what's actually shown. It can make the overall tone conflicting and confusing: from more whimsical and magical than anything scary or dark. The most menacing or captivating music is that of Jerry Goldsmith's from previous films.

Few actors manage to captivate beyond their roles. Faye Grant comes with the most layers to her character of, Karen, and in areas gives a natural delivery that doesn't just feel like a warm body, or that she's just woodenly delivering her lines. But, even so, with the poor dialogue, direction, and editing, there's only so much even the most talented actor can pull off. Some things do line up and show some unpolished potential, though with all things considered, aren't enough to make up for it.

This isn't the worst film out there, but it does certainly have its hangups and pitfalls that make the experience tiresome, rather than exciting. It falls into shortcomings similar to the second film: in that the audience is well aware of the nature of the little devil, but constantly plays on everyone else being slow on the upkeep. Surprises start to dwindle, and eventually begin to feel like hopeless attempts to capture your attention. They play on resentment and frustration from no one seeing what they see. It could have been a pulse-pounding thriller with good and evil pitted against each other similar to "The Exorcist III" of the year before. Yet, they don't make it a sweating-at-the-palms experience, or even an engaging cat and mouse game. In almost every respect it feels like a gimmick and a lazy capitalization of the series in that regard.

Rating: 3.5/10

Director: Jorge Montesi, Dominique Othenin-Girard
Actors: Faye Grant, Michael Woods, Michael Lerner, Asia Vieira
Info: IMDB link
Trailer: Youtube link

Omen III: The Final Conflict (1981)

Seeing is bel... an early grave

By: JWBM

"Beware of false prophets, who come to you in sheep's clothing but inwardly are ravenous wolves." - Matthew 7:15

This installment takes on a more mystical approach of how the prophecy is shaped: you have your secret holy league that each carries an ancient dagger of Meggido; astrologers are reporting strange alignments and phenomenon; faith is either questioned or strengthened by dividing and conquering by the great deceiver and his devout followers. Many have wondered over the last two millennia how the battle of battles will be fought. There are those for them, against them, or will be forced to endure the ordeal and make a decision. A recurrent theme in "The Omen" series is seeing is believing. To a good many, these are mere words on paper; here, few assume it will happen, or their time will be the One.

This is a world that's already been foretold: anything to interrupt or otherwise end that timeline has grave consequences—for the Antichrist is only getting fiercer and growing taller as the bodies pile at his feet. Instead of possessing an intimidating and obvious forked tongue and horns on his head, he's entrusted with respect and position, not to mention is gifted with charm, and always knows how to say the right thing at the right time to gain his way or influence. If you already didn't know, but suddenly find out, your fate will be sealed for you. Chances are those who stand their ground or aren't satisfied with turning a blind eye will get more instant pain and suffering than anyone. That's the duality of these films, in that they can work to scare either in an ingrained moral sense, or with foreboding action.

One of the strengths of this film—that the second missed—is that it moves with you. There is a certain intriguing and suspenseful, moment-by-moment aspect that you can get lost or affected by. It no doubt deals with similar subject matters and motifs, though the direction begins with the tone all over the place to generate some realism, to then gripping the reigns tighter and tighter, rather than just guiding loosely throughout and expecting the audience to follow along at the same pace. This sets mood with a sure foot. Some of the setups and situations are basic, but carry more weight as a result. There are some downright disturbing and chilling scenes, either from something as simple as Damien having a dark prayer with the Lord of the Underground, to seeing a head paint the back wall red to a group of unsuspecting people.

With any film that is heavy on aesthetics, you're going to get certain aspects swept along with everything else. The flow has to move in a general direction at times, with certain aspects highlighted and heightened to stand out. The holy group going after Damien, and certain other characters, come across as such: there to establish a purpose, but not necessarily come with memorable personality. The monks' strategy hardly puts one on the edge of their seat; one could look at it as either Damien is a greater force than any being on earth, or to illustrate the holy league's Top Dog is a force to come.

Sam Neill gives the part of Damien a certain presence and command. The role comes with the most dynamic, in how there's just the right tone, look, or phrase to smooth or dismantle the situation at a flash of the eyes. However, there are times that he also sounds a little bit stiff—being born in Ireland and growing up in New Zealand—with balancing the British and American accent with any bit of volume when the pacing of the film starts to heat up. The love angle with Damien was an interesting inclusion. It could have been a huge risk to the overall tone, or felt like it was thrown in. Though the way it's played—with a back and forth of, "Is this real?" or "Is this fake?," or a little bit of both—was brilliantly executed.

Some say there are certain subject matters that are in bad taste to bring up at the dinner table. In this case, the main themes of the film are a double-whammy with politics and religion. Though, deep at its core is a through and through horror movie with some memorable performances, thematic music, build-ups, plus a number of shocks and surprises to keep you on your toes.

Rating: 7.5/10

Director: Graham Baker
Actors: Sam Neill, Rossano Brazzi, Lisa Harrow
Info: IMDB link
Trailer: Youtube link

Damien: Omen II (1978)

Death by glare

By: JWBM

"Forces from him shall appear and profane the temple and fortress, and shall take away the regular burnt offering. And they shall set up the abomination that makes desolate." - Daniel 11:31

With the second installation—to take on the teenage years of Damien—we get a change of pace with all new actors, but one, and some fresh faces in the filmmaking crew. Lessened is that relentless, dark and looming atmosphere from the first film, and in its place is an attempt to go for more everyday realism to establish some background of the characters. Some major themes here are politics, severing ties, and mastering a fight to the death without throwing a punch.

One portion of the tale shows the upbringing of Damien under the wing of his rich and powerful uncle, Richard, who spearheads Thorn Industries—a sort of global powerhouse with hands in this and that—along with an almost humanization of the Antichrist while he attends a prominent military academy and finds out who his true friends and enemies are. I felt that was a clever move to give a slight pull and tug dynamic to what's just conceived as an embodiment of evil. Though if pushed deeper—instead of hovering around the surface—this story could have burrowed under your skin, and remained a permanent scar when thinking of the personification of the son to darkness. For a movie about Damien, it should have focused more on him rather than using this as a pedestal for things to come. There's still shreds of life to him, and some different hues and shades. Though it doesn't seem to last long and resorts back to stoic looks, and a that-person-knows-too-much-and-must-die film.

What becomes its undoing is that it feels like a sequel instead of a stand alone film. It turned "The Omen" into a franchise with a predictable formula. One you can count on, sure, but not one that will surpass anything the first established already. It works in areas to put you in the moment from the acting to the generous score—with a return from Goldsmith to pull a few more spellbinding variations—but in other areas it feels a somewhat stale echo to the past. It was a tough balance to strike, in that the story expands on itself, and at the same time attempts to go for more horror and shocks. At points it loses its sense of mystery when it steps out in the open: fighting in the hallways with unparalleled powers, or answering back smugly in the classroom as if everyone around is a lesser being. It felt more to sell you the allure of it all, then pull the rug out from under when you realize how much of a monster he's grown up to be. It's also conflicting seeing this, in that the audience is repeatedly told who he is, but by the time the characters catch up to realize what's going on, the impact of it at that moment is lessened.

The film generates a particular modus operandi: a sort of Antichrist pyramid, so to speak, that establishes who's where in the pecking order. If you find yourself at the bottom, you'll soon get a haunting visit from a raven—with Latin chanted theme to set up the inevitable—which is a sure trip to the casket in more than one piece. As horrific as the deaths are, they still come with easy to guess certainty of who's going to get an early demise, or, on the other hand, who's in conspiracy with the dark side. It turns a potentially gray film, into a black and white one. Guess the more low-key and practical way of making every opposing person inconspicuously deaf, dumb, mute, or blind isn't as entertaining.

Rating: 6/10

Director: Don Taylor (The 5-Man Army, The Island of Dr. Moreau)
Actors: William Holden, Lee Grant, Jonathan Scott-Taylor, Lance Henriksen
Info: IMDB link
Trailer: Youtube link