Richard Donner's direction and David Ward's script elevated this pulp horror to something near sublime and provided 70's era scares and big box office. The tale of a young boy who may well be the anti-Christ resonated with the post-Exorcist generation and stands as a strong tale about parenthood, religion and good vs. evil. Well cast with Gregory Peck playing against type and fine turns from Whitelaw and Warner.
HLLWN2015: More iconic than great, pulling textures and elements from Don't Look Now and Rosemary's Baby and making them a bit more pop, kitsch, and safe. But Gregory Peck lends gravitas, the sound design is creepy, and the gothic imagery shows how good lighting goes a long way. I wish it explored themes it touches on: the psychodrama involved, and the suspicion that 1976 looked pretty close to the End Times already.
A fiendishly effective film, tightly constructed, emotionally manipulative and delivered with certainty. A lesson rarely heeded by other horror films. The British settings add an atmospheric tang and we're lucky to have such a good cast playing with the tosh.
The kid is so creepy. It almost felt exploitational in that aspect. By the end of the film I was certainly on the side of the parents but not just because he was the antichrist. Really creepy mood like a burial shroud over the whole film. The scene with David Warner in the darkroom is so great.
Overrated classic. Ironically,its qualities are far from the devilchild trope-starter that made its nest as a horror subgenre: The Omen excels at being just about that - fear of things to come.Its best parts are the weirdest and less domestic: premonitions in photos,a trip to the zoo,a globetrotting investigation culminating in a fantastic graveyard scene. The hopelessness in the final sequences is icing on the cake.