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The Omen

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United Kingdom, United States · 1976
Rated R · 1h 51m
Director Richard Donner
Starring Gregory Peck, Lee Remick, David Warner, Billie Whitelaw
Genre Horror, Thriller

After his own child dies at birth, US diplomat Robert Thorn adopts the newborn Damien without the knowledge of his wife. As Damien grows up, mysterious events plague the Thorns. Robert becomes suspicious of Damien and works to uncover the horrific origins and terrible prophecy surrounding his child.

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TV Guide Magazine by

This silly and bloody, but at times very effective, horror film takes The Exorcist one step further by concentrating, not on possession by the Devil, but on the Antichrist himself.


Chicago Reader by Dave Kehr

Ambassador Gregory Peck finds that he's adopted the Antichrist (and he's a cute little feller too), in the slickest of the many demonic thrillers that followed in the wake of The Exorcist. Richard Donner directs more for speed than mood, but there are a few good shocks.


Newsweek by David Ansen

The Omen is a dumb and largely dull movie. No true connoisseur of kitsch will confuse the work of writer David Seltzer and director Richard Donner with the masterpiece of psychic manipulation contrived by William Peter Blatty and William Friedkin in The Exorcist, not to mention what the diabolical Roman Polanski made out of Ira Levin's Rosemary's Baby. [12 July 1976, p.69]


Empire by David Parkinson

The performance of Harvey Stephens as the young Damien has invested the film with the chill of genuine credibility.


Slant Magazine by Eric Henderson

A bald-faced lamprey hitching its razor-tipped maw on the chassis of The Exorcist, The Omen’s Sunday-school parable of gothic Cathsploitation comes twice as thick and thrice as pious.


Chicago Sun-Times by Roger Ebert

The Omen takes all of this terribly seriously, as befits the genre that gave us Rosemary’s Baby and The Exorcist. What Jesus was to the 1950s movie epic, the devil is to the 1970s, and so all of this material is approached with the greatest solemnity, not only in the performances but also in the photography, the music and the very looks on people's faces.

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