Time Out

It does mark a return of sorts to the stylishness of The Omen after the tackiness of Damien - Omen II.

The Globe and Mail (Toronto) by Jay Scott

Graham Baker, a British director of television commercials, makes a debut that is technically auspicious, and Robert Paynter and Phil Meheux, the cinematographers, have approximated the rich, chocolaty chiaroscuro of The Godfather saga. Does anyone care? [24 Mar 1981]

Chicago Sun-Times by Roger Ebert

A terrific opening. But, alas, the moment The Final Conflict turns to dialogue and a plot, it loses its inspiration.

Washington Post by Gary Arnold

There's sure nothing purgative about the kind of anxiety the filmmakers are exploiting. If anything, it condemns them to strictly degenerate company. [24 Mar 1981, p.B8]

Empire by Ian Nathan

Unfortunately, half the time this feels more like an Omen parody than a chance to give it a great send off.

The A.V. Club by Keith Phipps

Director Graham Baker has little gift for atmosphere, and apart from one inspired sequence, I suspect I'll forget every aspect of this movie in a couple of days.

Newsweek by David Ansen

Not only the silliest chapter in the Omen trilogy, it's the dullest and most inept. [30 Mar 1981, p.83]

The New York Times by Janet Maslin

In the cast are many, many dogs, who are charmed by Damien in a way no audience is likely to be.

TV Guide Magazine

A dumb end to a dumb series of movies that, in retrospect, play like the paranoid ramblings of a religious fundamentalist who sees unholy anti-Christian conspiracies behind every world event.