Ottime atmosfere e trama molto accattivante. Bel crescendo di tensione, che crea una bella spirale di terrore. Scene visivamente molto interessanti. Storia ben narrata, anche se svela un po' presto le sue carte. Grande uso delle fotografie dei personaggi.La regia dà un taglio molto particolare alla pellicola, con angolazioni che danno carattere alle inquadrature. Personaggi ben fatti, con un inquietantissimo bambino.
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.
A mixture of cheesiness and sincere scares. For every staple scene--"It's all for you, Damien!"-- The Omen overplays other ones-- especially when establishing Damien as evil-- thus feeling like a crowd pleaser trying to meet a scare scene quota rather than developing it naturally from story. It's more loud and brash than unnerving and disturbing, much closer to modern mainstream horror than anything during its time.
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.
This movie isn't particularly scary, but nothing gets me hyped like religious horror, so there you go. Your opinion of the movie is inevitably going to be influenced by what you expect going in: come for the story, try not to leave when they suggest the Antichrist's mother was a jackal. King James can back me up here. It's fascinating, it's fun, someone gets impaled with a lightning rod, go watch it.
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.