When the child of the wealthy American ambassador to the UK, Robert Thorn (Peck), dies at birth, he substitutes another and avoids revealing the tragedy to his wife Katherine (Remick). Some years later the child has developed a fear of churches and is surrounded by a subtle web of quiet observers. But when some of these mysterious people begin to die under bizarre circumstances, Thorn begins to suspect his son may not be what he seems.

Richard Donner's epic is a deeply disturbing addition to the horror genre, exploring the traditional concept of good versus evil. It raises questions about faith and, depending on the viewers' own beliefs and opinions, will be interpreted in many different ways.

The subject and material is treated with respect throughout, and Donner was obviously aware that casting would be vital if he was to achieve the carefully considered performances he required. Peck's awesome stature provides substantial authority to both the film and character of Thorn, a somewhat sombre figure devoted to his wife and "son". Lee Remick is also impressive and the ever-dependable David Warner is superb as the ambiguous photographer Keith Jennings.

A film with such a dark tone also requires a carefully conceived visual style if it is to remain even, and acclaimed cinematographer Gilbert Taylor (who had previously worked with Polanski, Kubrick, and Hitchcock and would later shoot Star Wars) created a harsh and uncompromising style that never permits the viewer to relax. Along with its similarly themed contemporary, The Exorcist, The Omen has stood the test of time well, retaining its curious ability to use fear in order to make us consider our own views on faith.

The Omen manages to keep it's head firmly above water to remain at the top of the horror genre with a scary tale and an impending sense of doom from the get-go. It helps that the movie has a simple, effective central premise. This is a well crafted, big budget, horror film for adults. From the isolated feel of the Thorn residence to Jerry Goldsmith's memorable score, there is always the sense that this is a movie in which the filmmakers wanted to get it right. Despite the violent deaths, (beheading, hanging, fork stabbing, and dog biting) this is not an exploitation film, but an excellent, gothic, dark tale of pure horror.

Gregory Peck does well as the Ambassador whose prayers are both answered and pissed on the night that his wife, Lee Remick, goes into labor. The real standouts here, in my opinion, are David Warner as the photographer, Billie Whitelaw as the evil Mrs. Baylock and Patrick Troughton as Father Brennan. Troughton brings a sense of pain and regret with cold skin and fearful eyes to the role and steals the show from Atticus Finch. Little Harvey Stephens has the perfect look for the role of young Damien. I mean that little guy is creepy (growing up, I'd often imagine the kid grew up to be Angus Young from AC/DC). Richard Donner doesn't rely on having the kid look menacing or even scowling, but just as an innocent child who doesn't realize his destiny...yet.