Jerusalem, Israel. One week after the burial of Robert and Katherine Thorn (in the first Omen movie), archeologist Carl Bugenhagen (Leo McKern) asks his friend Michael Morgan (Ian Hendry) to deliver a box to the guardian of Thorn's young son, Damien. He reveals that Damien is the Antichrist and that the box contains a warning and the means to kill Damien. As Morgan is unconvinced, Bugenhagen takes him to the ruin of Yigael's wall, showing him an ancient depiction of the Antichrist with Damien's face. Morgan is convinced, but the two are buried alive as a tunnel collapses.
Seven years later, 12-year old Damien (Jonathan... Read More
It would be a wild exaggeration to suggest that “Paranormal Activity: The Marked Ones” breathes new life into the increasingly fumes-fueled found-footage horror subgenre, but it certainly represents a shot in the arm for this series after 2012’s poorly regarded “Paranormal Activity 4.” Functioning more as a mythology-expanding spinoff than a proper sequel, this fifth installment (the first directed by longtime series writer Christopher Landon) smartly moves the setting away from airy suburbs to overcrowded working-class apartments, and introduces a winning sense of humor that almost compensates for its relentless reliance on... Read More
The year 1973 began and ended with cries of pain. It began with Ingmar Bergman’s “Cries and Whispers,” and it closed with William Friedkin’s “The Exorcist.” Both films are about the weather of the human soul, and no two films could be more different. Yet each in its own way forces us to look inside, to experience horror, to confront the reality of human suffering. The Bergman film is a humanist classic. The Friedkin film is an exploitation of the most fearsome resources of the cinema. That does not make it evil, but it does not make it noble, either.