Skip to main content

The First Omen (2024)

 

The First Omen is about an American woman who is sent to Rome to start her new life of service to the church and uncovers an evil conspiracy. It's also a prequel to The Omen from 1976.

There are a lot of comparisons between this movie and Immaculate which is another weird situation where two studios have the same idea and release movies around the same time. This has happened so many times in Hollywood. The film has a lot of political messages that are not subtle at all. Directed by Arkasha Stevenson, the film comes off the director's success with Channel Zero which I enjoyed. The problem is that the film would have been better as a TV show.

Nell Tiger Free is a pretty actress but doesn't add a lot of depth to the role she played. Not that there was much to her in Stevenson's writing. You might remember her from Game of Thrones as Myrcella Baratheon. I'm sure she'll grow into her acting abilities once she gets a better coach.

Another actor that doesn't get enough roles is Ralph Ineson who was the father in 2015's The Witch. He has a deep and serious tone to himself that he leans into but was mostly underutilized and with the expensive card of hiring Charles Dance I imagine they could have used both of them better.

The film has a bit of flaws, most notably not being scary. Result: C-

Comments

Popular posts from this blog

The Housemaid (2025)

The Housemaid (2025) is directed by Paul Feig , best known for comedies like Bridesmaids and Freaks and Geeks , and the tonal clash is noticeable. Feig leans into slick presentation and surface-level tension, but the film never quite reconciles its thriller ambitions with its obvious messaging. As an adaptation, it feels safer and more predictable than it wants to be, especially given how clearly it telegraphs its twists. Sydney Sweeney , known for Euphoria and Anyone But You , plays a down-on-her-luck woman recently out on parole who is desperate for work. She does what she can with the role and brings some emotional weight early on, but the writing limits her range. Her character cycles through bashful and annoyed so often that it starts to feel repetitive rather than psychologically layered. Amanda Seyfried , recognizable from Mamma Mia! and Mean Girls , plays the wealthy woman whose life slowly unravels as the power dynamic flips. Seyfried is solid and more controlled than Sw...

Marty Supreme (2025)

Marty Supreme (2025) is written and directed by Josh Safdie , who previously directed Good Time and Uncut Gems . This film carries that same frantic Safdie energy, with constant motion and pressure that rarely lets the audience breathe. It is chaotic by design, sometimes to a fault, but the intensity feels intentional rather than sloppy. Even when the pacing threatens to overwhelm, the film remains compelling due to the strength of its performances. Timothée Chalamet , known for Dune and Call Me by Your Name , plays the title role and fits it perfectly. He fully commits to the character’s ambition and volatility, balancing confidence with insecurity in a way that feels natural for him at this stage of his career. This is not a transformative performance, but it is a highly effective one, and he clearly understands the rhythm and demands of a Safdie-style film. Odessa A’zion , who audiences may recognize from Grand Army and Hellraiser (2022) , is a standout as the love interest. S...

Anaconda (2025)

Anaconda (2025) is a reboot comedy of the 90s film, written and directed by Tom Gormican , who previously delivered the clever and self-aware The Unbearable Weight of Massive Talent . Unfortunately, that lightning does not strike twice. The core problem is simple. The jokes do not land. If horror films are judged by scares per minute, then comedies should be judged by laughs per minute, and this one delivers virtually none. Any humor that works was already burned in the trailer, leaving the film feeling empty and painfully drawn out. Jack Black , known for School of Rock and Jumanji , leans heavily into his loud, chaotic persona, but here it becomes grating rather than charming. His performance feels unchecked and repetitive, as if volume alone is meant to substitute for comedy. Instead of elevating scenes, he often drains them of momentum. Paul Rudd , who audiences know from Ant-Man and I Love You, Man , somehow comes off just as irritating. Rudd is usually likable even in weak m...