Ómen

Basically, it is an exact copy of the original film, skillfully set in the modern world full of mobile phones and fast cars. For someone who has not seen Richard Donner's piece, the new Omen will certainly be a solid experience, as John Moore closely follows the predecessor, even repeating some scenes in detail, so it could not be spoiled much in terms of content. However, little Damien is noticeably weaker here. Moore does not create a dark atmosphere very well, so he relies on visual explosions as much as possible, whether it's the scenes in the cemetery with the dogs or the fanatic caretaker and the care. Unfortunately, this is where the problem lies because Moore is typically an action director and some scenes are too dynamic and fast-paced with shaky handheld camera and quick cuts, which is quite disruptive considering the concept of the film. And what on earth were those pseudo-Italian sequences supposed to mean when the actors were moving around in the alleyways behind the National Theatre? A relatively unnecessary remake that at times is overly artificial and rigid compared to its predecessor. (2006.05.31)