The First Omen

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When a young American woman is sent to Rome to begin a life of service to the church, she encounters a darkness that causes her to question her own faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.

Credits: TheMovieDb.
The First Omen
Overview:
When a young American woman is sent to Rome to begin a life of service to the church, she encounters a darkness that causes her to question her own faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.
Cast:

Margaret: Nell Tiger Free
Father Brennan: Ralph Ineson
Sister Silva: Sônia Braga
Cardinal Lawrence: Bill Nighy
Luz: María Caballero
Carlita: Nicole Sorace
Father Gabriel: Tawfeek Barhom
Father Harris: Charles Dance
Sister Anjelica: Ishtar Currie Wilson
Paolo: Andrea Arcangeli
Alfonzo: Guido Quaglione
Sister Romano: Dora Romano
Luca: Michelangelo Dalisi
Father Spiletto: Anton Alexander
Beatrice: Mia McGovern Zaini
Pregnant Woman: Eugenia Delbue
Red Headed Girl: Charita Cecamore
Smoking Nun: Federica Santoro
Nun #1: Donatella Bartoli
Nun #2: Marial Bajma-Riva
Doctor: Mario Opinato
Katherine Thorn: Rachel Hurd-Wood
Obstetrician: Nicola Garofalo
Waiter: Marcello Paesano
Museum Security Guard: Giacomo Henri Dossi
Nurse #1: Sylvia Panacione
Nurse #2: Daniela Barra
Nurse #3: Alessandra Fallucchi
Young Sister Silva: Milena Božić
Comforting Nun: Dobrila Stojnić
Shadowy Priest: Alberto Tierrez
Sadistic Nun: Ljiljana Žunić
Angry Nun: Eva Ras
Shadowy Figure: Miodrag Rakočević
Jackal Performer: James Swanton
Jackal Performer: Andjelko Pavlović
Infant / Newborn (1 Month Old): Mina Knežević
Infant / Newborn (1 Month Old): Ema Nastić
Baby Layla: Mateja Nešović
Baby Layla: Lana Stanojević
Scaffold Worker: Borislav Bogosavac
Scaffold Worker: Dejan Dragosavac
Scaffold Worker: Darko Corovic
Scaffold Worker: Strahinja Despić
Margaret Picture Double: Amy Clayton
Carlita Picture Double: Amalia Strand
Cardinal Lawrence Picture Double: Nigel Dyson

Crew:

Director: Arkasha Stevenson
Characters: David Seltzer
Executive Producer: Tim Smith
Producer: Keith Levine
Unit Production Manager: Whitney Brown
Story: Ben Jacoby
Executive Producer: Gracie Wheelan
Screenplay: Keith Thomas
Director of Photography: Aaron Morton
Editor: Amy E. Duddleston
Editor: Bob Murawski
Casting: Kharmel Cochrane
Producer: David S. Goyer
ADR & Dubbing: Peter Arpesella
Costume Design: Paco Delgado
Production Design: Eve Stewart
Hairstylist: Jovana Jovanović
Props: Genadi Vanchev Tsenov
Assistant Makeup Artist: Ludovica Marini
Art Department Coordinator: Manuela Assennato
Supervising Art Director: Tiziana Liberotti
Makeup Artist: Stefania Trippa
Production Manager: Ana Biskupljanin
Art Direction: Andrea Migliaccio
Property Buyer: Giovanni Miseri
Dailies Manager: Alessio David Ciattini
Assistant Director: Annamarie Dicesare
Third Assistant Director: Francesco Liotti
Key Hair Stylist: Jasmina Banović
Makeup Artist: Petra Macura
Makeup Supervisor: Raffaella Iorio
Assistant Art Director: Giulia Berardi
Prop Maker: Carlo Diamantini
Third Assistant Director: Rebecca Creighton
Set Production Assistant: Dewisinta Nogi
Third Assistant Director: Alberto Scisco
Additional Hairstylist: Laura Fiasco
Assistant Director: Sara Fathi
Boom Operator: Ivan Branisavljevic
Boom Operator: Claudio Castorina
Sound Mixer: Emanuela Cotellessa
Assistant Hairstylist: Grazia Maria Giorgi
Set Decoration: Maria Luigia Battani
Assistant Director: Anna Guerra
Assistant Director: Maria Cristina Lucantonio
ADR Editor: Michael J. Benavente
Assistant Makeup Artist: Valentina Parrino
Creature Design: Keith Thompson
Assistant Makeup Artist: Rebecca Sorbi
Property Master: Craig Price
Art Direction: Olga Djurdjevic
Assistant Editor: Hector Cartagena Jr.
Line Producer: Nuno Martins
Second Assistant Director: Alex Gavigan
Sound Re-Recording Mixer: Michael Babcock
Hair Department Head: Elisabetta De Leonardis
Set Dresser: Dubravko Bjelajac
Storyboard Artist: Francesco Grant
Property Master: AnaMarija Spasenovic
Assistant Set Decoration: Nađa Trajković
Property Buyer: Noa Tahita Sbragi
Art Direction: Marco Cardilli
VFX Editor: James Durante
Third Assistant Director: Barbara Bevacqua
Assistant Director: Alessandro Labadessa
First Assistant Director: Liam Lock
Second Assistant Director: Fiorenza Salvador
Additional Colorist: Nick Nassif
Second Second Assistant Director: Jason Rickwood
Boom Operator: Tommaso Gentile
Carpenter: Jovan Uhrin
First Assistant Editor: Dov Samuel
Third Assistant Director: James Excell
Makeup Designer: Nataša Krstić
Makeup Artist: Karina Muzzio
Additional Editor: Samuel James Bellamy
Executive Producer: Cristina Giubbetti
Standby Property Master: Marko Milošević
Assistant Art Director: Sabina Angeloni
Assistant Set Decoration: Dionisia Cirasola
Storyboard Artist: Jonathan Davis
Casting: Teresa Razzauti
Utility Stunts: Emanuel Comanducci
Stunts: Muzio Fumai
Utility Stunts: Giuliano Pierini
Visual Effects Coordinator: Magdalena Jurcagova
Visual Effects Producer: Danny McNair
Stunt Driver: Emiliano Barretta
Compositing Supervisor: Justin Bates
Visual Effects Supervisor: James Cooper
Stunt Coordinator: Alessandro Borgese
Set Costumer: Clara Diana
Dialogue Editor: Shane Hayes
Sound Designer: Ric Schnupp
Supervising Sound Editor: Jussi Tegelman
Visual Effects Coordinator: Jason Smeyres
Stunts: Roberto Dias McCarthy
Costumer: Vanja Damnjanović
Costume Coordinator: Amy Wright
Boom Operator: Flavio Moro
Boom Operator: Zoran Prodanović
ADR Mixer: Jamison Rabbe
VFX Artist: Marlon Victor Bondoc
Costumer: Agustina Castellani
Assistant Costume Designer: Anna Cavaliere
Costume Supervisor: Augusto Grassi
Stunt Double: Lucky Johnson
Special Effects Supervisor: Gábor Kiszelly
Assistant Costume Designer: Patrizia Baiocchi
Costume Coordinator: Odeta Cali
ADR Mixer: Caitlin McDaid
Sound Effects Editor: Daniel Pagan
Sound Mix Technician: David Semon
Sound Re-Recording Mixer: Jonathan Wales
Special Effects Supervisor: Maurizio Corridori
Production Sound Mixer: Novica Jankov
Dialogue Editor: Joe Schiff
Stunts: Daniele Anzalone
Special Effects Technician: Gabriele Cumpact
Stunt Coordinator: Slaviša Ivanović
Seamstress: Mariafrancesca Ricci
Executive Visual Effects Producer: Dave Sauro
Stunts: Jelena Bakovic
Script Coordinator: Timothy Visentin
Second Unit First Assistant Director: Matteo Albano
Special Effects Makeup Artist: Adrien Morot
Stunt Coordinator: Peter Miles
Art Direction: Mauro Berti
Swing: Ugo Giovannini
Propmaker: Alessandro Ciccione
Assistant Art Director: Livio Tallini
Camera Operator: Andrea Rauccio
Camera Operator: Luca Mercuri
Digital Imaging Technician: Fabrizio Margaroli
Boom Operator: Gianmarco Palluzi
Assistant Editor: Dan Riddle
Post Production Assistant: Noah Greene
Electrician: Fabrizio Coppo
Assistant Art Director: Valentina Cairoli
Phantom Operator: Fabio Ferrantini
First Assistant Camera: Michele Nassuato
Data Wrangler: Luca Zuccolo
Stunt Double: Morgane Bujoli
First Assistant Camera: Luciano Teolis
Second Assistant Camera: Cinzia Corpetti
Art Direction: Sergio Cosulich
Swing: Alessandro Di Lauro
First Assistant Camera: Giuditta Paolini
Second Assistant Camera: Elena De Santis
Assistant Property Master: Edoardo Gaudieri
Visual Effects Assistant Editor: Paul A. Hart
Grip: Massimiliano Angelucci
Leadman: Cristian Troi
Swing: Stefano Croce
Still Photographer: Cristina Di Paolo Antonio
Second Assistant Camera: Federico Chiesa
Video Assist Operator: Sebastiano Sallemi
Video Assist Operator: Mattia Nicolai
Still Photographer: Morris Puccio
Script Supervisor: Susan Marucci
Electrician: Massimiliano Alagia
Camera Operator: Aurelio Cicalese
First Assistant Camera: Dario Paolini
Property Buyer: Giuseppina Albanese
Generator Operator: Fabrizio Sansone
Assistant Art Director: Maddalena Zoli
Leadman: Roberto Serafini
First Assistant Camera: Paolo Cafiero
First Assistant Property Master: Arianna Ferrazin
Best Boy Electric: Paolo Jacobucci
Generator Operator: Constantino Ciudin
Assistant Art Director: Jessica Scudieri
Second Assistant Camera: Nicole Arpini
VFX Artist: Mario Beck
Key Grip: Paolo Tiberti
Art Department Production Assistant: Tommaso Del Signore
Set Dresser: Silvia Maimone
Stunt Coordinator: Lorenzo Vecchi
Set Decorating Coordinator: Veronica Colzani
Swing: Valerio Belli
Second Assistant Camera: Alberto Brancalente
On Set Props: Paolo Iudice
Dolly Grip: Emanuele Tiberti
Camera Operator: Sebastiano De Pascalis
Second Assistant Camera: Filippo Toma
Assistant Property Master: Antonio Motolese
Assistant Set Decoration: Maria Catena Pennisi
Still Photographer: Afredo Falvo
Generator Operator: Maurizio Consoli
Best Boy Grip: Roberto Barbona
Grip: Guido Mestre
Assistant Set Decoration: Matteo Nuccetelli
Video Assist Operator: Samuela Langi
Sound Mixer: Stefano Civitenga
Boom Operator: Dominic Nicholas Rogan
Electrician: Federica Sepe
Rigging Grip: Alessandro Chechi
Rigging Grip: Tomas Urbinelli
Seamstress: Francesca Merlonghi
Key Makeup Artist: Federico Laurenti
Special Effects Makeup Artist: Dalton Kutsch
Assistant Property Master: Daniele De Santis
Rigging Gaffer: Antonio D’Arienzo
Seamstress: Silvia Lucchetti
On Set Props: Orikel Ruci
On Set Props: Lorenzo Di Maggio
Electrician: Fabio Cipriani
Generator Operator: Andrea Russo
Generator Operator: Ndoi Ndoc
Grip: Giovanni Coacci
Costumer: Saverio Cicala
Makeup Artist: Claudia Tozzi
Special Effects Makeup Artist: Dan Thomson
Grip: Alessandro Barbona
Seamstress: Anna Giuseppa Lillo
Special Effects Makeup Artist: Jess Nelson
Production Supervisor: Gina Fowler
Carpenter: Claudio Petrucci
Property Master: Claudio Villa
Post Production Supervisor: Aaron Fink
Best Boy Electric: Roberto Raccis
Electrician: Mario Cecconi
Dolly Grip: Fabrizio Micheli
Rigging Grip: Marco Castellano
Rigging Grip: Emanuele Pandolfi
Rigging Grip: Roberto Revoldini
Grip: Simone Serantoni
Seamstress: Patrizia Bernini
Key Costumer: Roberta Frangella
Special Effects Makeup Artist: Brian Poor
Location Coordinator: Simona Sciannimanico
Production Coordinator: Rebecca Booth
Production Accountant: Carlo Miscoli
Costumer: Michela Bazzardi
First Assistant Hairstylist: Michela Barberini
Special Effects Makeup Artist: Richard Alonzo
Special Effects Makeup Artist: Kathy Tse
Special Effects Makeup Artist: Chris Gallagher
Assistant Production Coordinator: Michelle Lilley
Assistant Costume Designer: Claudette Lilly
Seamstress: Sara Proietti
Seamstress: Daniela Rotili
Costume Assistant: Bianca Ismael
Special Effects Makeup Artist: Devin Seman
Assistant Production Coordinator: Giulia Valeri
Music Editor: Jeff Kwong
VFX Editor: Jody Fedele
Visual Effects Supervisor: Piotr Dybowski
Gaffer: Daniele Cafolla
Electrician: Danilo Di Palma
Electrician: Riccardo Coccia
Rigging Grip: Daniele Carbonaro
Costumer: Augusto Volpini
Makeup Artist: Silvia Beltrani
Location Manager: Nicola Rovito
Seamstress: Maria Pia Viselli
Special Effects Makeup Artist: Joe Badiali
Casting Assistant: Greta Porrello
Extras Casting Assistant: Giulia Bonsignorini
Unit Manager: Simone Troili
Grip: Giovanni D’Amore
Key Rigging Grip: Marco Santarelli
Costumer: Eleonora Mainella
Special Effects Makeup Artist: Helen Cohen
Location Manager: Astra Redler
Key Costumer: Abdelfattah Qzaibar
Hairstylist: Diarra Sidibe
Special Effects Makeup Artist: Charlie Lenny
Location Manager: Manuele Masotti
Special Effects Supervisor: Franco Ragusa
Grip: Aldo Napoleoni
Grip: Angelo Tiberti
Rigging Grip: Yuri Marciano
Tailor: Manuel D’Andrea
Seamstress: Katia Litvin
Costumer: Augusto Coluzzi
Key Costumer: Costanza Bastanti
Costumer: Marco Fantoni
Special Effects Makeup Artist: Joe Colwell
Grip: Federico Tripoli
Costumer: Giulia Conti
First Assistant Makeup Artist: Tiberio Nardi
Location Manager: Pierluigi Potier
Assistant Location Manager: Costanza Consigli
Rigging Grip: Doriano Torriero
Special Effects Makeup Artist: Vague Vartanian
Casting Associate: Holly Rodman
Casting Assistant: Ore Olowokere
Assistant Unit Manager: Flaminia Pelagallo
Assistant Location Manager: Elisa Matteucci
Unit Manager: Nicoletta Cataldo
Foley Editor: Shawn Kennelly
Location Coordinator: Ivan Buttiglieri
Extras Casting: Claudio Valentini
Extras Casting Assistant: Simone De Feo
Unit Production Manager: Marco Olivieri
Foley Artist: Vince Nicastro
Extras Casting Assistant: Chiara Mariani
First Assistant Accountant: Valerio Antico
Dialogue Editor: Aaron Cross
Foley Artist: Melissa Kennelly
ADR Mixer: Peter Hilčanský
ADR Mixer: Sam C. Lewis
Special Effects Technician: Ezio Sabelli
ADR Mixer: Rafael Cairos
ADR Mixer: Matt Hovland
ADR Mixer: Dean St. John
Assistant Location Manager: Sara Morelli
Special Effects Technician: Angelo Mirra
Location Coordinator: Sofia Gabrielli
Assistant Location Manager: Gianluca Salerno
Assistant Production Coordinator: Emma Jayne Goins
Special Effects Technician: Luigi Zanna
Sound Designer: Tim Farrell
ADR Mixer: Debby Ruby-Winsberg
First Assistant Sound Editor: Mark Coffey
First Assistant Sound Editor: Matthew Phillips
ADR Mixer: Matteo Flandina
Dialogue Editor: Taylor Jackson
ADR Mixer: James Hyde
Colorist: Stephen Nakamura
Transportation Captain: Marzio Pulcini
ADR Mixer: Pasquale Mollo
ADR Mixer: Scott Cannizzaro
Dialogue Editor: Brian Dunlop
ADR Mixer: Tristan Radajewski
ADR Mixer: Jared Seidman
ADR Editor: Warren Shaw
Original Music Composer: Mark Korven
Costumer: Gaia De Laurentiis
Post Production Coordinator: Mike Manley
Special Effects Makeup Artist: Kelly Gorman

Catogories:
Horror
These plug-ins are astonishing!

Create something to fear.
Language:
English,Italiano
Production:
United States of America
Company:
Phantom Four,20th Century Studios
Popularity:
160.565
Date:
2024-04-03
Year:
2024

Manuel São Bento: FULL SPOILER-FREE REVIEW @ https://fandomwire.com/the-first-omen-review-a-must-watch/
“The First Omen holds many narrative issues and a too-safe ending, but it deserves to be seen on the big screen due to its grotesque practical effects, hauntingly well-built atmosphere, and one of the most impressive, transformative performances of the year by Nell Tiger Free.

Debutant filmmaker Arkasha Stevenson clearly leaves her mark on a technically sublime film that easily becomes the best installment of the franchise after the original movie.

Lead yourself into temptation and embrace the incarnated evil. You won’t regret it.”

Rating: B-
CinemaSerf: Novice “Margaret” (Nell Tiger Free) arrives in Rome to a welcome from her cardinal sponsor “Lawrence” (Bill Nighy) where she hopes to complete taking her vows. She is greeted with open arms and taken on a tour of what she hopes will become her new home. This is when she encounters the shy “Carlita” (Nicole Sorace) who spends much of her time in solitude drawing. This intrigues “Margaret” but not as much as some of the other goings on in the maternity ward of the hospital. Her concerns are only exacerbated by a meeting with “Fr. Brennan” (Ralph Ineson) who spins her an horrific yarn that makes her head spin and sets her on a detection task that reveals a conspiracy to end all conspiracies – one that is conceived by the church for it’s own perpetuation, but that could bring down both it and mankind. At times it’s quite a decently paced watch, this, with a little gruesomeness (isn’t it odd that the tools of medicine so often look like those of torture?) but given we have known the denouement since 1976 the lack of any real jeopardy does rather rob the film of much of a sense of menace and what “jump moments” there are are all a bit predictable. Free does try to imbue her character with a bit of passion, and she manages along well enough but Nighy is weak and the single appearance from Charles Dance adds nothing at all to these lacklustre proceedings. Prequels are always hard to deliver. This tries, but sadly we’ve seen it all before and I fear the nun theme is beginning to self-flagellate itself to death. A short story over-stretched.
MovieGuys: The First Omen, like so many latter day spin offs, of well respected franchises, fails to understand what made the original films so successful.
I well remember the original Omen film and how it held me. Its intricate story, which chillingly displaced a sense of normalcy with a ever growing horror and otherworldly menace, was truly compelling.

By contrast. The First Omen lacks true progression and originality. For well over half the film, it is, in fact, rather dull. It does make vain attempts to utilises tropes and events of the earlier films but fails to develop a measurably meaningful, original narrative, to accompany them. Moreover, as other reviewers have stated, quite correctly, in my view, its safe ending does little to mitigate the overriding sense of cinematic malaise.

In summary, if you have never experienced the Omen franchise, don’t start with this film. The original films are horror masterpieces, well worth your time. By contrast, this film will, I suspect, be remembered as a minor footnote with Omen fans, like myself and that’s if its lucky.
Ritesh Mohapatra: The First Omen” is a chilling and atmospheric horror film that effectively pays homage to the original which came out in 1976 while presenting a fresh and unsettling perspective, with standout performances and direction that will leave viewers on edge. The film’s atmospheric tension, creepy moments, and effective storytelling makes is a worthwhile horror flick. Director Arkasha Stevenson’s debut film impresses with its confident direction and storytelling, featuring a standout performance by Nell Tiger Free. She literally has given a performance to remember.The film’s slow pace can irritate a few viewers, as well as the unexpected ending tying it to the original of 1976 can be questionable, but overall, the film shines in its ability to evoke a haunting atmosphere and deliver scares without relying on cheap jump scares or gimmicks. A worthy prequel.
whitsbrain: This was shot and directed well and the way that Margaret’s story was constructed early on was interesting. The movie is less appealing in its final act as it ushers in the arrival of the antichrist and tries to tie itself into the original **Omen** film. That film was made almost 50 years ago, and most modern moviegoers aren’t going to appreciate the effort.
There aren’t many jump scares in this, a couple of them occur early, but this doesn’t really have any sustained scares, either. There are strange moments but nothing that will keep anyone from good night’s sleep.
Dean: It was alright. Not bad, but definitely not as good as previous omens. I think main problem was that first of all it was too stretched into 2 hours and almost whole movie was happening in once place – nunnery and basically movie lacked scenes in other places, which made it a bit boring to be honest. Wasn’t scary. I think 6/10 is appropriate rating for this movie.
Dean: It was alright. Not bad, but definitely not as good as previous omens. First of all, its story was short, but too stretched into 2 hours length & to be honest it felt like movie was very slow paced which made it a bit dull. Secondly, almost whole movie was happening in once place – nunnery and basically movie lacked scenes in other places, which made it a again dull and boring. Wasn’t scary either. I think 6/10 is an appropriate rating for this movie.
TheSceneSnobs: This movie was ultimately pointless. While it featured some cool visuals and interesting death scenes, it was overall very boring and failed to add anything significant to the lore of the franchise.
The film does have moments of visual flair, with certain scenes showcasing impressive special effects and creative cinematography. A major issue with the film is the way it handles its female characters. The writing falls into condescending tropes that undermine the potential for strong storytelling. Female characters are often depicted in stereotypical roles, diminishing their complexity and impact on the plot.

Additionally, the film attempts to delve into the Christian-based horror sub-genre, specifically exorcism themes, but falls short of creating genuine scares. Studios often struggle with making these films truly terrifying because they lack a deep understanding of the faith’s principles. The result is a portrayal that feels hollow and inauthentic.

One solution could be to hire screenwriters who are well-versed in Christian theology and culture to bring authenticity to the sub-genre. Marketing these films to a Christian audience might also prove interesting and create a more engaged viewer base. Authenticity in storytelling could transform the genre, making it more impactful and frightening.

As someone who does not identify as Christian, I can see the potential for more meaningful and scary films within this sub-genre if approached with respect and depth. The current approach, however, leaves much to be desired and feels disconnected from the true essence of the faith it seeks to portray.

Overall, while the movie offers some interesting visuals and death scenes, it ultimately fails to deliver a compelling or original story. The condescending portrayal of women and the hollow execution of Christian-based horror elements significantly detract from its potential. Studios need to rethink their approach to both character writing and genre-specific storytelling to create more engaging and authentic films.
Petercushing: Why does the modern horror community settle for such mediocrity in film making? Don’t be so lazy and settle for the usual unfulfilling, stereo typical Hollywood dreck such as this. There are so many fantastic indie horror movies being made out there.

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