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The First Omen – PixelStream.ca – upcoming, now Playing, Popular Movies Reviews

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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