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The First Omen: Though similar in plot to Immaculate at a superficial level this film sticks to the supernatural in the attempts to create the Antichrist. In the prologue an aged Father Harris (Charles Dance) is at confession with Father Brennan (Ralph Ineson), he relates a garbled tale about a baby created through a woman mating with the Devil. The progeny is destined to be the mother of the Antichrist. Shortly afterwards Father Harris is impaled in the head by stained glass from a shattered church window. Rome, 1971, Margaret (Nell Tiger Free) arrives from the US to take her vows at a school/orphanage, herself an orphan she was raised by the Roman Catholic Church. She is met by Cardinal Lawrence (Bill Nighy) who a decade before had counselled her when she was having troubles. They travel to the Convent to the background of Trade Union and Student protests; the Cardinal reflects on how the RCC is also losing the support of young people.

The Convent seems to be a happy place, the children are treated well, they have parties, nuns bounce on trampolines, even the elder sisters smoke and crack jokes. However Margaret finds that one child Carlita (Nicole Sorace) is often kept in a room, tied to a bed even. Carlita acts up is violent, draws strange pictures, Margaret realises that Carlita is acting like she did years ago, suffering from nightmares and visions so she bonds with her. Similar to Immaculate there is a naughty novitiate, Luz (Maria Caballero) she browbeats Carlita into going dancing and drinking, after all one must live before leaving secular life. They dance with young men and Carlita wakes the next morning with no memory of getting home. Things have taken an odd turn at the orphanage, Carlita has terrifying visions, a strange blind young nun commits suicide. The by now excommunicated Father Brennan reappears and tries to convince Margaret that a conspiracy is at play to create the Antichrist. The plot now takes an interesting turn which it would be a spoiler to reveal. Of course it introduces a few characters who featured in the 1976 film The Omen and even pays homage to several of it's gory death scenes (improving on at least one of those).

The First Omen is a largely satisfying film in it's own right and promises to take the franchise off at an angle to the previous films. There are scenes of graphic horror, not least in the birth scenes where elements of body horror are introduced along with Margaret's visions of the risen dead. Some good jump scares but the pacing of the film takes away from the effect of a couple of these. A tightening up of the convent scenes with additional exposition of Margaret's backstory would have improved the flow of the narrative. Nell Tiger Free's part demands a lot and she is equal to it as her character develops. She is aided and abetted by Maria Caballero who is wonderful in her nunsploitation role and young Nicole Sorace. Bill Nighy gives further support as the enigmatic and pragmatic Cardinal. Directed by Arkasha Stevenson, who co-wrote the screenplay with Tim Smith and Keith Thomas from a story by Ben Jacoby. 8/10.

Saw it at a preview.

After seeing The First Omen for a second time I've revised my review.

The First Omen: Though similar in plot to Immaculate at a superficial level, this film sticks to the supernatural in the attempts to create the Antichrist. In the prologue an aged Father Harris (Charles Dance) is tracked down by Father Brennan (Ralph Ineson), Harris relates a garbled tale about a baby created through a woman mating with the Devil. The progeny is destined to be the mother of the Antichrist. Shortly afterwards Father Harris is showered by stained glass and a piece of scaffolding takes a chunk out of his head, obviously just happenstance. Rome, 1971, Margaret (Nell Tiger Free) arrives from the US to take her vows at a school/orphanage, herself an orphan, she was raised by the Roman Catholic Church. She is met by Cardinal Lawrence (Bill Nighy) who a decade before had counselled her when she was having troubles. They travel to the Convent to the background of Trade Union and Student protests; the Cardinal reflects on how the RCC is also losing the support of young people. These disturbances continue in the background over the radio until Margaret is caught up in a riot during a pivotal scene,

The Convent seems to be a happy place, the children are treated well, they have parties, nuns bounce on trampolines, even the elder sisters smoke and crack jokes. However Margaret finds that one child Carlita (Nicole Sorace) is often kept in a room, tied to a bed even. Carlita acts up, is violent, draws strange pictures, Margaret realises that Carlita is acting like she did years ago, suffering from nightmares and visions so she bonds with her. Similar to Immaculate there is a naughty novitiate, Luz (Maria Caballero) she browbeats Carlita into going dancing and drinking, after all one must live before leaving secular life. Things take an odd turn at the orphanage, Carlita has terrifying visions, a strange young nun, Angelica connects with both Margarey and Carlita resulting in a horrifying incident. Father Brennan reappears and tries to convince Margaret that a conspiracy is at play to create the Antichrist. The plot now takes an interesting turn which it would be a spoiler to reveal.

The First Omen is a largely satisfying film in its own right and promises to take the franchise off at an angle to the previous films. There are scenes of graphic horror, not least in the birth scenes where elements of body horror are introduced along with Margaret's visions of the risen dead. Some good jump scares but the pacing of the film takes away from the effect of a couple of these. A tightening up of the convent scenes with additional exposition of Margaret's backstory might have improved the flow of the narrative. Nell Tiger Free's part demands a lot and she is equal to it as her character develops. Maria Caballero is wonderful in her nunsploitation role in the hightclub scenes and in her dress sense, this sequence and her later taking of vows introduces a touch of Dario Argento. Nicole Sorace gives a fine performance as the disturbed and conflicted young girl.. Bill Nighy gives further support as the enigmatic and pragmatic Cardinal. Of course The First Omen introduces a few characters who featured in the 1976 film The Omen and even pays homage to several of its gory death scenes (improving on at least one of those). Directed by Arkasha Stevenson, who co-wrote the screenplay with Tim Smith and Keith Thomas from a story by Ben Jacoby. 8/10.
 
What Happened at 625 River Rd.

Allegedly based on true events (although the end credits have the usual disclaimer that this is a work of fiction) this 2023 movie features a couple of good-time girls seeking a short break away from the city. They seem to have struck lucky, scoring a huge and luxurious Airbnb but, on their arrival, the owner behaves bizarrely, initially scowling and denying the place was available for rental, but then transforms into an apparently jovial and welcoming host. Showing the girls around, the first mild jump-scare occurs with the sudden appearance of the host's brother - a taciturn redneck character (you can tell by the lumberjack shirt with the cut-off sleeves), who glowers menacingly throughout. Something definitely feels off and, when the host warns "don't go in the basement", this seems to be cruising down pretty well your standard psychological horror route (check out the trailer below).
Things aren't quite what they seem though. A series of flash-backs and flash-forwards will alert the attentive viewer to the sub-plot which, if you haven't been paying attention, will come back and slap you in the face hard just before the denouement.
At just 75 minutes, What Happened at 625 River Rd isn't allowed to overstay its welcome, but I must confess that I found the standard of acting to be generally poor and unconvincing (with the possible exception of the affable cop, who seems to have been thrown in for a little bit of comedic relief). On analysing the movie afterwards, a few massive plot-holes became apparent too.
For a debut feature though by rookie director Devon Jovi Johnson, it wasn't too bad and I'd just about rate it as a 6/10 movie. Given a higher budget and maybe some more established actors, I'm curious to see what this young director can come up with next.
Currently streaming on Amazon Prime.

 
Why the cliche of being told "don't go into the cellar"?
If you don't want someone to go into the cellar, lock it. Or even put a padlock on it.
 
However, you could incorporate it into a plot device.
Why did the attractive 20-somethings* feel the need to break the lock?

* They are always 'attractive 20-somethings'. Even the nerdy stereotype who's indicated by wearing glasses.
It's the attractive 20 something that gets killed first. The nerd is safe. I'm pretty sure the nerd can go in the basement with no qualms.:chuckle:
 
It's the attractive 20 something that gets killed first. The nerd is safe. I'm pretty sure the nerd can go in the basement with no qualms.:chuckle:
Especially if she's the one who didn't want to go to whatever it is they're at in the first place because she had to study.

Either way, everybody gets offed after the jock and his ditzy, complaining girlfriend.
 
tHis thread's making me want to re watch a Friday the 13th, 3 or 4 or 6 .. and other slashers: "I'm coming down into this cellar right now! and I've got a big haircut and a 'flashlight' which will make you squint!" THUNK (axe in some teenager's head although the actor looks about 30)
 
I think that Horror films and books get an undeservedly bad rap for that - countless non-Horror films and books are equally if not more prone to clichéd plots, plot elements and characters. For instance, in 'ordinary' novels focusing on dark deeds in AcademiaLand, before you even start reading you can practically guess the types of clichéd characters who are going to feature (the aloof beauties; the nebbish and persecuted ones who secretly dream of vengeance; the profs who are 'dark' in either their private views or their sinister actions; the chaotic 'rebel'/maverick truth-tellers who are basically tired riffs on the age-old notion that the - supposedly - mad are bold and outspokenly honest). Such clichéd characters are so familiar to readers and viewers that we can almost see them beforehand, in our imaginations.

And yet, many well-known authors arrogantly dread being labelled as 'Genre writers'; even Hilary Mantel disliked being called a writer of Historical Fiction. It's laughable snobbishness.

The truth about clichés in Horror is likely this: we love them, welcome them, and that is why they feature so often. It's not a case of bad film-making or writing; that is surely just snobbish prejudice, the glib and arrogant assumption that Horror is fundamentally trashy and juvenile.
 
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I'm not snobby about horror films - I just don't really 'get' them. Thus any cliches I see are more obvious. Every creative endeavour fits into a genre. The point of a genre is to include certain constraints - and the creativity is working within, subverting or even breaking through those constraints. Fiction is creative. Fiction set in a past period of history is historical fiction. Mantel might've disliked the term, but there is a snobbishness that she might be railing against - the idea that it's not literature, which I agree exists against, say crime fiction etc.
Anyway - there's nothing wrong with using cliches ... it's how they're used demonstrates imagination and creativity. If film-makers become lazy OR they want to tick all the genre boxes, then so be it.
 
Yes, her Historical Fiction seemed to me to be an (exemplary) exploration of character rather than the particular eras; so I think you're quite right about the value of intelligently using & breaking the limits of cliché.
 
Did you ever get to the end?

One hell of a twist!

Ghost Stories is available on BBC iPlayer until 22/02/2023.
I watched this last night - it’s back on iplayer - & was fairly disappointed with it. Made by one of the League of Gentlemen men & has a very ‘Inside No 9’ feel to it.

A lot of wandering in the dark so hard to see what’s happening & the ending twist where it went well weird unsatisfactory.

spoiler
He’d attempted suicide by exhaust fumes in his car & ‘dreamt’ it all whilst in a vegetative state in hospital. Was it because his world view had been shaken or because of the guilt from the childhood incident where a kid died? Or was that ‘dreamt’ as well? Either way it didn’t hang together well.

Some creepy-ish moments but not great.
 
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The truth about clichés in Horror is likely this: we love them, welcome them, and that is why they feature so often. It's not a case of bad film-making or writing; that is surely just snobbish prejudice, the glib and arrogant assumption that Horror is fundamentally trashy and juvenile.
^this^ It is fun to watch some of the horror movies which use the clichés knowingly and the intent is either to make a movie to show the love of horror movies or to break the clichés to the delight, again, of fans of horror.

Even the lowest budget horror movie will have fans who appreciate it because it either is apparent that the producer loves the genre or the film was an earnest attempt at telling a story.

Horror fans will quickly identify a film only made for money, no matter how big budget. And it will be panned.

The people who really don't get what horror is are those who say "I don't watch/read horror because it's scary or not real". Then, logically they wouldn't watch anything.
 
I saw The First Omen. Enjoyed it. I also enjoyed the deaths that were an homage on the original The Omen. Not done as identical death scenes but ones which you knew referenced the originals.

The final slight twist was not unknown, but was hinted at throughout the movie.

The pacing was slow and most of the scenes were fairly low key with subtle hints that something might not be right. But it did remind me of the pacing of those 70's movies Rosemary's Baby and The Omen. I think this was intentional to again link it with the original. I appreciated it for this as well.

The ending leaves it open for further Omen lore. Definitely one to see.
 
Especially if she's the one who didn't want to go to whatever it is they're at in the first place because she had to study.

Either way, everybody gets offed after the jock and his ditzy, complaining girlfriend.
She was always the one I wanted killed off IMMEDIATELY.

That trope I hated as no women were ever intelligent or able to take care of themselves. The men always had to rescue them.

Now Buffy The Vampire Slayer was a fun and smart movie.
 
Abigail: A horror film with elements of (very) Dark Comedy. Abigail (Alisha Weir), a 12 year old girl who delights in her prowess as a ballerina is kidnapped by a six person gang. They take her to another mansion where the caper organiser Lambert (Giancarlo Esposito) tells them that they just have to hold her for 24 hours while he collects the ransom from her father. They will each receive $7 million. Seems like money for jam? Abigail is soon manipulating Joey (Melissa Barrera} a former combat medic assigned to care fot Abigail. The house itself is odd, some well appointed rooms but there are derelict quarters leading off them. The most annoying member of the gang is found decapitated, The others confront Abigail but it turns out that she is a vampire and the tables are turned. While a strong strain of black humour runs through the film this is very much a horror movie, laughter tends to die in your throat (if it isn't bitten out). Heads are lost, faces bitten out and blood sucked. The old house becomes a hunting ground as the gang fights to live rather than be undead. Some interesting vampire lore is revealed as we find out what threatens this particular type of vampire as she plays with her food. Abigail dances with a decapitated corpse, pirouettes and kick boxes to the strains of Swan Lake, this is indeed a Black Swan. A stunning performance from Alison Weir who was 12 when Abigail was filmed ably supported by scream queens Melissa Barrera and Kathryn Newton as Sammy, as a hacker.A few interesting plot twists as well. Directed by Matt Bettinelli-Olpin and Tyler Gillett from a screenplay by Stephen Shields and Guy Busick, based on and a reimagining of the 1936 film Dracula's Daughter. 8/10.

In cinemas.
 
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Abigail: A horror film with elements of (very) Dark Comedy. Abigail (Alisha Weir), a 12 year old girl who delights in her prowess as a ballerina is kidnapped by a six person gang. They take her to another mansion where the caper organiser Lambert (Giancarlo Esposito) tells them that they just have to hold her for 24 hours while he collects the ransom from her father. They will each receive $7 million. Seems like money for jam? Abigail is soon manipulating Joey (Melissa Barrera} a former combat medic assigned to care fot Abigail. The house itself is odd, some well appointed rooms but there are derelict quarters leading off them. The most annoying member of the gang is found decapitated, The others confront Abigail but it turns out that she is a vampire and the tables are turned. While a strong strain of black humour runs through the film this is very much a horror movie, laughter tends to die in your throat (if it isn't bitten out). Heads are lost, faces bitten out and blood sucked. The old house becomes a hunting ground as the gang fights to live rather than be undead. Some interesting vampire lore is revealed as we find out what threatens this particular type of vampire as she plays with her food. Abigail dances with a decapitated corpse, pirouettes and kick boxes to the strains of Swan Lake, this is indeed a Black Swan. A stunning performance from Alison Weir who was 12 when Abigail was filmed ably supported by scream queens Melissa Barrera and Kathryn Newton as Sammy, as a hacker.A few interesting plot twists as well. Directed by Matt Bettinelli-Olpin and Tyler Gillett from a screenplay by Stephen Shields and Guy Busick, based on and a reimagining of the 1936 film Dracula's Daughter. 8/10.

In cinemas.

Always love your reviews Ramon, but can't help wondering how you can manage (or afford) to go to the cinema so often!
Almost all of my reviews come from streaming the movie.
 
Always love your reviews Ramon, but can't help wondering how you can manage (or afford) to go to the cinema so often!
Almost all of my reviews come from streaming the movie.

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You can also book tickets directly at the cinema by showing your Unlimited membership at the till. If you have pre-booked tickets online, you can collect these at our ticket machines in the cinema or simply show the QR code in your confirmation email. If you booked via the Cineworld app, your e-ticket will be saved on the app.

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I go to the IFI maybe once a month for films which aren't screening at Cineworl,, costs €10.90 a ticket so more expensive.

https://ifi.ie/
 
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