Why ‘The Omen’ Hasn’t Lost its Tragic Magic
Richard Donner’s The Omen doesn’t make parenting look easy. In fact, it makes it look like a living hell.
Richard Donner’s The Omen doesn’t make parenting look easy. In fact, it makes it look like a living hell. First, imagine you, Robert Thorn (Gregory Peck) stand to possibly become US Ambassador to the UK (and if you have rich parents, this might come easier to you). Things seem to be going well, right? You even get your wife Katherine (the beautiful Lee Remick) pregnant — which you likely didn’t mind doing, especially when you aspire to be a loving father. However, about nine months later, things start going wrong.
Imagine Katherine loses the child at birth, then the hospital chaplain secretly offers you another child, so your wife doesn’t have to know. If you accept such an offer, how would you feel about it? Well, chances are you’d have mixed feellings already. However, let’s say that, over time, you get strange feelings about this replacement kid, who you have named Damien (Harvey Spencer Stephens). Curiously, he never gets sick or seems to have headaches. Then, your hired nanny (Holly Palance) then makes a rash decision at your son’s birthday party (to put it nicely), permanently weirding you out about birthday cakes.
It doesn’t stop there, however. You’re being pestered by some warped old Priest (Patrick Troughton). Damien freaks out about attending a wedding ceremony at a church, fighting his mother violently before he can be brought onto the steps of the cathedral. Your wife also finds out that zoo animals are terrified of your boy, with giraffes fleeing and baboons threatening to attack her car in the safari park.
What the hell is going on? Also, what does that weird photographer guy (David Warner) want? Between him, that Priest, your wife’s depression, and this new nanny (Billie Whitelaw) who’s too obsessed with her dog, you must emphatically ask again: What the hell is going on?!
Wait For It…
Hell is exactly what is going on! It seems your wife is right to regard Damien like an alien presence. He’s not just a bad boy, a slacker, or a struggling musician. As “The Omen” presses on, much of the subtlety disappears, and the happy family seems lost for all time. The mood of this film also lends weight to it. For example, its haunting score, provided by the brilliant Jerry Goldsmith. As the choral voices chant in a sinister fashion, you really don’t need the words translated into English to sense the foreboding of evil (Goldsmith won his only Oscar for this score, by the way).
This movie has been identified for quite some time as a horror classic, and it conveys a lot of traditional horror moods. Nevertheless, “The Omen” doesn’t provide some masked, hulking villain at a campsite or a beast who comes out only under a full moon. Sure, this film has some far-fetched elements, but its somber tones and incrementally evil atmosphere are hard to match.
In fact, it’s so hard to duplicate that, if you really think about it, The Omen hasn’t really been touched much by parodies. It’s like even dumb-ass horror-comedy goofballs are like, “Nah, we should just leave that classic film alone.” It doesn’t help that the film’s production was considered to be cursed.
Overlooked Political Details of The Omen?
Okay, okay, I might be building this movie up too much for first-time viewers. But why the uproar? Well, with The Omen, there’s a little more than meets the eye. There are little subplots you might find, if you’re careful enough to look. For example, this movie actually does delve into politics, ever-so-slightly. Or is it all subtle? Actually, The Omen strongly suggests that evil arises from the world of politics. In fact, Peck’s character is right alongside it, and he actually seems like a relatively good, normal guy. It’s even suggested that the evil nature of his position is practically inevitable. It will lead to turmoil.
Granted, Damien exists as sort of a symbolic element, but this hardly even qualifies as a “crazy fan theory” regarding the first film. There are other hints of underlying political strain. Robert and Katherine are generally on the serious side, and they often end up in some needlessly tense conversations. While this could be a commentary on the characters themselves, and their unique situation, it no doubt also comments on the high-stress nature of his position. Though it initially seems they’ll have it easy, it seems the two are never quite happy. Reality keeps raining on their parade, and Damien’s hidden nature also represents the dark secrets people keep.
Also, let’s be real: Katherine seems like the type who ends up shouting at her servants, especially when her husband is away. She might not be a villain, but she seems to have disdain for people below her “station” in life. This aspect of the story isn’t exactly prominent, but you can see how she regards the nanny during that one key scene. It doesn’t seem like a coincidence that such an exchange occurred.
The Great Dilemma and What Wouldn’t Have Worked in the Story
At one point in The Omen, Robert almost walks away from his newfound and terrible responsibility. Damien initially had a loving adoptive family, but now that Robert knows the truth, can he do what he knows must be done? Now, obviously, a movie could be written about a zillion different ways. David Seltzer could have introduced so many elements making this movie far less serious and impactful.
Imagine, if you will. Mr. Thorn getting a little help from a cocky vampire named Andy before he runs out of time. Now that addition would suck, right? My suggesting that could make you roll your eyes, ask, “What in the hell is he thinking by introducing that idea?!” Well, that’s exactly my point. It would’ve been absurd to make this movie any less serious.
The story was very enjoyable for what it was, and part of the drama is the horror, and vice versa. There’s also no movie quite like it. Perhaps it’s not the greatest horror film of all time, but you can’t quite say it’s predictable, and in some ways very interesting. It seems the average first-time viewer will be curious to find out what happens next. It’s safe to say there’s still a lot of mystery in this one, too. Fortunately, it’s safe to rewatch this every so often, too, although it’ll never have the same impact as that first viewing.
What arte your thoughts on The Omen? It’s all for you in the comments!
Movies n TV
Anna (2013) To Some, Mindscape to Others, a Thriller Film
Anna (2013), also known as Mindscape, is a psychological thriller of a struggling memory detective named John.
Anna (2013), also known as Mindscape, is a psychological thriller directed by Jorge Dorado. This R-rated directorial debut stars Mark Strong, Taissa Farmiga, Brian Cox, Saskia Reeves, Richard Dillane, and Indira Varma. As of this review, interested viewers can watch this film on VUDU, Hoopla, Plex Channel, Pluto TV, Roku Channel, Tubi TV, Amazon Prime, and more. Anna originally released in 2013, but it released in the US in 2014.
Struggling to return to his work as a memory detective, John (Mark Strong) pursues a new assignment. Anna (Taissa Farmiga) views John as her last chance to prove her innocence before she’s condemned to an asylum. As John searches through her memories, a tale of abuse and manipulation unravels.
What I Like about Anna (2013)
Anna earned three nominations but no award recognition. From the Sitges–Catalonian International Film Festival, it earned a nomination for Best Motion Picture. The Goya Awards recognized Jorge Dorado with the 2014 nomination for Best New Director. Finally, Anna received a nomination from the Gaudí Awards for Best Art Direction.
Taissa Farmiga’s performance balances the line between suspicious and innocent, which is necessary for this unraveling mystery. It’s a delicate role, but Taissa Farmiga brings to life the material given.
No products found.
Anna‘s plot rotates around a new fringe science that’s slowly gaining traction. It’s less a dissection of this science and more a norm that Anna expects viewers to believe. It’s an interesting concept, though not unique. Still, it’s a nice additional dynamic to the mystery.
While not a horrifying film, it does deliver a mystery that keeps viewers engaged with enough hooks to add an extra layer before something gets stale. That mystery does linger in the mind in some respects but doesn’t haunt the viewer.
Tired Tropes and Triggers
Despite Anna not depicting these moments, sexual assault remains a recurring element of the film. Little remains conclusive, with some suggestions that these are false allegations. Furthering this point, the film depicts Anna as a manipulator and flirt when some incidents suggest she’s a survivor of assault.
Derogatory language might upset some, but these remain brief moments. The use indicates a particular character’s immaturity, but I’ll raise the point regardless. Furthering this line of analysis is a moment where a bullied character is implied to be gay, but it’s likely just an insult.
While not inherently a trigger, this new field of science earns the claim of being somewhere between forensic science and lie detector tests, a massive gap that anything can fit in. It makes everything subjective when the film wants to claim absolute evidence. I can’t help but wonder what exploring that unreliability might look like, but that’s not this film.
What I Dislike about Anna (2013)
The biggest deal breaker for some is this concept of a teen mastermind. I won’t go into details about the mystery, but I am often fatigued with this idea of a teen femme fatale. While Anna gives enough mystery, it’s an overused trope.
Mark Strong’s performance delivers on the material, but John seems so easily manipulated for someone who does this as a profession. While out of practice, I don’t understand why he believes or doesn’t believe information. If Anna depicts John as overly critical or gullible, the film will have a more consistent character.
I assume there remains an understandable reason for the name change, but Anna appears as a common title for a film, spinning a series of some recognition. Mindscape also earns some recognition and competition, but it’s a more memorable title than a single noun name.
Final Thoughts
Anna provides an interesting concept and mystery, but many shortcomings hinder the execution. Viewers eager for a psychological mystery with a drop of sci-fi, Anna delivers an engaging story. However, the market does provide competition, making it a tough film to recommend. 
(3 / 5)
Movies n TV
Tips on Raising Evil from “The Demon of Parenthood”
The assessors investigate cursed toys in an attack against commerce, but Ben has a finger on the issue in “The Demon of Parenthood.”
“The Demon of Parenthood” is the eighth episode of season 3 of Evil, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate cursed toys in a terrible attack against commerce, but Ben (Aasif Mandvi) has a finger on the potential issue. David (Mike Colter) receives another task from the Entity. Kristen (Katja Herbers) learns more about her missing egg. Leland (Michael Emerson) invites Dr Boggs (Kurt Fuller) to the darker side of spirituality. Sheryl (Christine Lahti) takes her granddaughter to work.
What I Like about “The Demon of Parenthood”
I enjoy the espionage aspect of the Entity, pushing David to questionable grounds as he navigates what’s right against what’s demanded of him. While this plotline doesn’t reach its full potential, this episode highlights one of the more interesting opportunities of this idea. The Entity consistently interferes with the procedural case, possibly covering up abuse to support its objectives. This episode highlights this dynamic to perfection.
Kristen gets pulled in multiple directions, forced to question her trust in David, and faces a unique horror after learning about her missing egg. While I won’t dive deeper into this issue for this review, it’s safe to say this episode belongs to Kristen, and Katja Herbers delivers.
Her unsettling night terrors suggest an intuitive understanding of some of the manipulations around her, highlighting these moments to the viewer by proxy. Beyond these meta moments, the execution of these night terrors remains pleasantly unsettling.
![Evil: Season Three [DVD]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQxNzQ5Mg=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
![Evil: Season Three [Blu-Ray]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQxNzQ5Mg=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
Last update on 2025-01-31 / Affiliate links / Images from Amazon Product Advertising API
Among a constant trail of failures, Leland lingers in the background as he puts pieces together for his master plan. We don’t see the full scope of his vision yet, but the suspense it builds for future episodes earns its place. I’m interested to see how these plots will evolve, even if Leland’s luck seems to turn sour. Perhaps it’s because of this dynamic that the tension works so effectively.
With a shocking moment tied into this episode, “The Demon of Parenthood” creates one of the more haunting episodes. However, the greatest accomplishment in the episode is what it establishes for the future of the series. While not all these points follow through by the end of Evil, it’s still an episode that ripples across the show’s progression.
Tired Tropes and Triggers
Without diving into too many details, spousal abuse and murder occur in the episode. This abuse might indicate a demonic influence, but such points remain speculation.
A severed body part and some gore stand out in this episode. It hardly earns enough attention from fans of gory horror, but the squeamish should tread carefully toward the end.
What I Dislike about “The Demon of Parenthood”
Many dropped ideas seem genuinely interesting, building to some potential development that receives little payoff. Missing these opportunities will never feel satisfying. While some changes are understandable, it creates holes in the narrative. For example, Dr. Boggs’ dark seduction slows in pace, becoming implied or withheld from the audience soon after “The Demon of Parenthood.” These experiences often adapt the concept of evil that the show seeks to bring to life.
Sheryl’s compliance with Leland’s plan still seems underdeveloped as a concept, especially with how far she takes it in this episode. While later episodes add a different perspective, I can’t help but feel these are retcons or concepts not thoroughly thought out.
Final Thoughts
“The Demon of Parenthood” progresses the plot and delivers some genuinely haunting moments. While a retrospective assessment does note many missed opportunities, the episode stands up beyond these missed opportunities. 
(4.5 / 5)
Movies n TV
You’ll Have a Bloody Good Time with this Eternal (2004) Health Tip
When Raymond Pope’s wife disappears, he follows the trail. But each lead points him to the Eternal beauty of Elizabeth Kane.
Eternal (2004) is a horror thriller written and directed by Wilhelm Liebenberg and Federico Sanchez. This R-rated film stars Caroline Néron, Victoria Sanchez, Conrad Pla, and Ilona Elkin. As of this review, it is available for Amazon Prime members with renting options from Spectrum on Demand.
When Raymond Pope’s (Conrad Pla) wife disappears, he’s swept into the mystery of Elizabeth Kane (Caroline Néron). As his investigation becomes increasingly bizarre, bodies pile up and point to Raymond Pope. Will he clear his name, or will this bloody rampage drown him?
What I Like about Eternal
While all of the performances add to the film, Eternal thrives on the charisma and mystique of Caroline Néron’s Elizabeth. She enchants her targets, lowering their defenses until that final moment.
Conrad Pla’s Raymond Pope also requires a delicate approach to succeed. The sleazy and hypocritical detective seems genuinely concerned for his wife (at least initially) and sells that concern. While far from an easy character to root for, the audience understands him and the danger he faces.
There’s a heavy erotic thriller angle that Eternal delivers on. I’ll linger on this point in later sections, but it certainly knows how to build tension within a single scene or between characters. These moments don’t feel forced, and while they often target a male audience, interesting dynamics rise above general exploitative content, if only slightly.
This seems to be a passion project between the creators, Wilhelm Liebenberg and Federico Sanchez. This passion lingers in the moments to deliver something unique, if not without its flaws. The film doesn’t hold back, a point that fluctuates between negative and positive depending on the situation. Regardless, it holds a charm in that commitment that’s hard to replicate without passion behind the scenes.
Tired Tropes and Triggers
The film labels itself as “Inspired by True Events,” which only relates to the general discussion of Elizabeth Báthory. It’s also worth mentioning that, much like Vlad Dracula, her story remains heavily dominated by modern interpretations. I won’t pretend to hold exclusive knowledge of these historical figures, but cultural interpretation reduces realism. The claim means little to nothing.
The predatory queer trope applies to Eternal, with little complexity to challenge the point as the violence often targets women. It’s important to note that Elizabeth acts as a femme fatale in general, but the targets remain clear. However, this film did earn a moment of recognition from the Glitter Awards (a clip was used in 2006), which might suggest the standout performance of Caroline Néron’s Elizabeth earns back some goodwill.
What I Dislike about Eternal
The erotic thriller holds a stigma that Eternal doesn’t challenge. Elizabeth remains a clear femme fatale with a slightly supernatural twist. While the performance executes this character perfectly, viewers likely know if this remains an interest or a tired cliche for themselves.
While most of Raymond’s acts make sense for the character, I hold issue with the end. Without going into too many details, he is asked to do one thing to protect himself and does the opposite for no reason. Perhaps this indicates supernatural influence, but such a claim lingers in headcanon.
The film ends ambiguously, which hardly seems fitting given the evidence and weakens the overall film. A definitive ending, or something moderately more definitive, would strengthen Eternal.
Final Thoughts
Eternal’s major obstacle in executing its erotic thriller is that of tired tropes in the modern era. If one looks past these dated points, there’s a haunting thriller that can meet moments of excellence. The plot falls short in many areas towards the end of the film. Ultimately, if a vampire-esque thriller interests you, Eternal certainly adds its perception to the niche but in a familiar form.
(3.5 / 5)
