“That American nun traveling to an Italian monastery involving a mysterious pregnancy is our last hope this year.” “No — there is another.”

At the invitation of Cardinal Lawrence (Bill Nighy), novitiate Margaret (Nell Tiger Free) arrives from America, tasked with caring for orphaned children in a convent in Rome while waiting to take her vows. Faster than you can say “sinister intent,” things seem off about the nunnery… more so seeing how orphaned Carlita (Nicole Sorace) is mistreated as a troubled young woman. After Father Brennan (Ralph Ineson) accuses the church of being involved in a conspiracy and attempts to recruit her as an ally, Margaret becomes protective of Carlita, a situation that doesn’t sit well with others and calls the novitiate’s convictions into question. As little clues begin to add up to something gravely amiss, our heroine begins to look for opportunities to escape with possible evidence into something no one suspects. With time running out, Margaret will discover the evil that men do… even in the name of God.

With renewed fascination into the dark side of Catholicism thanks to “The Conjuring Universe” horror franchise with The Nun and The Nun II (not to mention a slew of new exorcist films of late), this particular production also spent purgatory in development hell due to Disney’s acquisition of 20th Century Fox. With assets redistributed under 20th Century Studios, Arkasha Stevenson signed on as co-writer and to make her feature directorial debut from the idea first hatched in 2016, but it’s curious how the awfully similar Immaculate ended up scheduled for a same-year release. There’s nothing unusual about Hollywood launching similar films around the same time — why make one giant asteroid film like Armageddon and Deep Impact when you can have two at twice the price? — but the descriptions of these two films are virtually interchangeable. Since Immaculate came out first, would The First Omen seem like a pale imitation?

It is at this point these two films deviate, because The First Omen simply made great choices in story, casting, and concept. As a prequel to The Omen trilogy, there’s no question we’re talking about mysticism, religion, and the birth of the Anti-Christ. Persisting similarities are still represented far better in this prequel film, including the conspiracy itself, how the audience shares the heroine’s dread, and the stacking clues promoting psychological horror in addition to the gore. Building a prequel into an established history works easier as a blueprint since writers know what they’re writing to, but it also works against some the originality. When watched in order, tropes and trappings can diminish the impact, but if done well, however, the shortcut is forgivable for the better experience. Stevenson also appears unafraid to delve into body horror when it comes to birthing, so consider this your only warning.

Nell Tiger Free’s Margaret is instantly more likable and relatable than Sweeney’s Cecilia, and much of that comes from story opportunity. Margaret appears more capable and is given freedom to explore as a main character, essential considering the procedural investigation aspect of the plot. With more understanding about what is happening to her and why, the eventual betrayal of those Margaret trusted deepens the viewer’s connection to her plight. It shouldn’t be lost on horror fans that Charles Dance and Bill Nighy have also played vampire lords, so seeing them as clergy is hilarious at worst. By the end, not everything goes as planned nor is everything is lost — see The Omen for details — but a little space is left for something more if anyone else felt up to it, even if it’s ultimately all unnecessary.

The cast ensemble elevates what could have been standard fare into a compelling story in spite of a foregone conclusion, a clear step up from Immaculate depending entirely on its lead. Firmly set in 1971 with historic context, lavish sets and locations, and a sweeping score, The First unfolds with the gravatas of the original that seemed diminished int the latter sequels… whereas Immaculate casually discards timelessness for an anachronism that destroys the goodwill earned up to that point. No one asked for a prequel to The Omen, but fans of the franchise shouldn’t mind it, either.

The First Omen is rated R for violent content, grisly/disturbing images, brief graphic nudity, and oh, honey, no.

Three skull recommendation out of four