The Omen Film Review
Probably the only aspect of this remake altered significantly from the original motion picture was the international release date, specifically chosen by the studio to play on number of the beast associations. Thirty years ago it the world was different, with no such thing as a universal release (The Omen 2006 came out everywhere on the same fateful day), and perhaps a mite more sensitivity to issues satanic, hence the caution evident back then.
But aside from release dates as marketing ploys, scant has changed. Characters and events follow the 1976 edition almost to a tee, and even names haven’t been tampered with as often happens with remakes. Some might claim this indicates a lack of innovation, since connecting the dots doesn’t entirely amount to pristine movie making at its pinnacle. After all, three decades are quite the interim, and there was much producers could have done to keep current aside from incorporating cell phones and LCD monitors.
This reviewer begs to differ. Young director John Moore, who previously made only a handful of movies like Behind Enemy Lines and Flight of the Phoenix, has steered this release safely onto the calm waters of distinct flavor, helping bestow on the newer picture a mood peculiar to it, delineating the tendency to attempt and recapture the vibe of an older release (a venture frequently doomed to failure), and erecting a structure able to withstand the vagaries of a summer season bristling with high-profile remakes (see Miami Vice).
So while similarities essentially amount to story ingredients, 2006 sees a drastically different movie than the one shown audiences back in the 70’s. Additionally, because the story’s so well known and established, there’s very little to surprise viewers in that regard. Ergo, Moore’s decision to focus on stylistic modification paid off, with The Omen coming across a compelling watch despite harboring no major twists, and being shown to people the world over who’ve been jaded clean by scores of conspiracy stories packing much more shock value The Omen franchise. Having the movie still end up enjoyable in light of all this is testament to its success.
Likely the biggest difference one notes upon seeing the remake is the bigger deal they make of the whole 666 thing, although it was also present in the 1976 iteration to some extent. Here it’s seen as a birthmark denoting Damien Thorn (Seamus Davey-Fitzpatrick) as a hell-spawn little brat unknowingly visited on aristocrats the Thorns, a family of well-to-do upper-crustaceans with strong ties to the American political machine.
Father Robert (Liev Schreiber) chooses to feign ignorance for as long as possible as a benefit to his fragile wife Katherine (Julia Stiles). The illusion comes to a grinding halt when signs of imminent Armageddon are observed by Vatican officials, prompting an attempt to locate Damien and pre-empt evil’s amassed onslaught on humanity.
One clergyman, Father Brennan (Pete Postelthwaite) tries harder than most to contact the family and warn them, but meets with yet another grisly horror-movie demise.
Another story-arc revolves around Robert joining forces with intrepid paparazzi reporter Keith Jennings (David Thewlis from Naked and Kingdom of Heaven), hoping to identify the true nature of Damien’s evil and his origins as the son of Satan. This takes them to various locations in Italy and the Middle East, of course putting them in harm’s way.
It’s funny so much of the story can be given away without risking overexposure and spoilage, but then it’s a much-retold horror standard and most people are familiar with it one way or another. The Omen 2006 bypasses this handicap when it provides solid entertainment comprising manifold, diverse parts while never becoming bogged down or even near the point of boredom. It’s evident careful consideration was allotted each segment, and the movie moves along effortlessly. It’s also OK to look at artistically, featuring gore in keeping with its genre, but also convincing locales and effects.
Acting’s not as tight as might have been hoped for, particularly the interaction between Schreiber and the oft excellently-detached Stiles felt too mechanical and forced, while young Davey-Fitzpatrick’s cover of Damien seemed perfunctorily economical, imbuing no real sensation either way. We knew what he was all about by virtue of the well-traversed story, not more.
On the other hand, Thewlis and Schreiber communicated beautifully, giving off a very workable relationship, making us believe they really were working against the clock and had something common of great value at stake here. Another highlight came from Mia Farrow, rendering wicked Nanny Baylock (before done by Billie Whitelaw) as the conduit by which evil’s maintained a safe haven in the Thorn household. It’s good to see the veteran actress in the limelight again, although few performances can come close to dizzying heights she’s achieved with Rosemary’s Baby, arguably one of the classics that inspired the look and feel of 1976 The Omen.
This incarnation also ends obviously on a sequelish note, so expect remakes of several other Omen storylines in the near future. Put together with other points made above, this qualified Omen ’06 as a competent work of interpretive cinema and an affable summer treat. It has more to do with gore than horror, and seasoned viewers have nothing to fear within. Mainstream or lay audiences were probably more of a target for 20th Century Fox, providing screams and gasps as the movie dishes out one of several ghoulish moments courtesy of hell hounds, beheadings and implements of impalement.
A good reprise, The Omen returns to satisfy with the series’ trademark wink. Not to be taken too seriously, it opens up possibilities for resurgent enfranchisement, and hope for horror-leaning movie buffs everywhere.
Rating: * * * *
Directed by John Moore
Starring Julia Stiles, Liev Schreiber, David Thewlis, Seamus Davey-Fitzpatrick
2006, English, 115 minutes
