A priest from the Vatican is sent to Sao Paulo, Brazil to investigate the appearance of the face of the Virgin Mary on the side of a building. While there he hears of a statue of the Virgin... See full summary »
A team consisting of a physicist, his wife, a young female psychic and the only survivor of the previous visit are sent to the notorious Hell House to prove/disprove survival after death. ... See full summary »
A masked killer, wearing World War II U.S. Army fatigues, stalks a small New Jersey town bent on reliving a 35-year-old double murder by focusing on a group of college kids holding an annual Spring Dance.
Robert and Katherine Thorn seem to have it all. They are happily married and he is the US Ambassador to Great Britain, but they want more than to have children. When Katharine has a stillborn child, Robert is approached by a priest at the hospital who suggests that they take a healthy newborn whose mother has just died in childbirth. Without telling his wife he agrees. After relocating to London, strange events - and the ominous warnings of a priest - lead him to believe that the child he took from that Italian hospital is evil incarnate. Written by
Damien was originally going to be called Domlin until writer David Seltzer's wife suggested a name change. See more »
In the first scene when Robert Thorne is being driven through Rome, the time is specified as 6.00AM and the date is June 6th. The sun rises in Rome at 5.30am at that time of year, which would mean it was reasonably light outside, but Robert is being driven in the dark. See more »
The child is dead. He breathed for a moment. Then he breathed no more. The child is dead. Dead. The child is dead.
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The first and best in the series of films about devil-child Damien teamed a great cast (Gregory Peck, Lee Remick, David Warner, Patrick Troughton, Billie Whitelaw) with Harvey Stephens in a chilling performance as the child.
The deaths most of the cast meet are inventive and in some cases, memorable for many years after viewing the film - giving the opportunity for some unusual and striking visuals, while the whole film is soaked in that loud Goldsmith score to great effect.
The sequels, alas, were poor in comparison, but 'The Omen' stands alone of its type of seventies horror schlock.
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