The Omen (2006)
Omen (noun): An occurrence or phenomenon supposed to portend, or show the character of, some future event; any indication or action regarded as a foreshowing.
-Webster’s Dictionary
Given the recent years of film-making, the definition of a remake could be as follows; an occurrence or phenomenon in Hollywood films that has plagued the American movie-going public with unoriginal ideas, outdated cliches, and terrible movies. If this gives any indication of what the most recent horror remake, The Omen, will be like, consider yourself forewarned.
The remake of “The Omen” is a movie that has nothing new to bring to the table as it tries desperately to be something it is not; as good as the original. In fact, it’s not even close. “The Omen” faithfully retells the frightening story of the classic 1976 film of the same name. An American ambassador, Robert Thorn, adopts a son after the tragic death of their own unborn son. With the recurrence of many disturbing events, dreams, and biblical foretellings, the husband and wife soon uncover facts and learn that their son might actually be the Antichrist. As if it were not questionable already, “The Omen” puts forth the idea that the devil will make his rise to power over earth through the world of politics.
The first place the remake went wrong was in its casting. Damien, the most important role in the film, is played by the adorable Seamus Davey-Fitzpatrick. In the original film of 1976, Damien is played by the sinister-looking Harvey Stephens. Seamus makes audiences want to run up and hug him while Harvey repels his audience in fear. In the remake, the child’s adopted father, Robert Thorn, is played by Liev Schreiber, who seems to be the best casting choice in the film. His on screen presence, mostly attributed to his voice, is much like the legendary presence of Gregory Peck in the original. Schreiber gives great emotions, but can’t seem to capture the chemistry with is incapable co-star, Julia Stiles. Once a budding actress, Stiles can’t even seem to carry a scene, let alone make the audience believe she is a mother who is terrified of he own son.
Visually, the remake of The Omen succeeds. Director John Moore is able to create an eerie sequence of dreams, stunning visuals of red on white and terrifying symbolic. Other more elaborate sequences featured in both of the parent characters’ dreams are what will evoke the most terror and cheap thrills for the audiences. Some of them hold no significant balance to the movie itself.
