…then the Devil gets an awkward Tuesday release for the sake of the marketing campaign.
The original "The Omen" really wasn’t that great to begin with â€” even odder, then, are the attempts by some members of the press to find significance in the dismal-looking remake that opens tomorrow. Will Lawrence in the Telegraph uses the film as the center of yet another piece on "why all the horror remakes?":
"Also, I think there is a connection between the times we live in now and the ’70s," continues [London FrightFest co-director Alan] Jones. "Look at the original ‘Omen’; the church is in disarray, there’s war, unrest, so much happening on a global level and there’s the sense that this is what the Devil is working on. And just think of the reactions to the Vietnam war and now the Iraq war.
"It informs cinema, as we need to face our fears more. Going to a horror movie makes us feel slightly better about ourselves. We can see other people facing the pain, as well as forgetting about what’s on the news. In saying that, I still think the number of remakes is a little sad; we are going through a terrible period of uncertainty in the film industry, so people will act a bit like lemmings, running towards the cliffs. And on their back is the title of a horror film."
MERIN: ‘The Omen”s the first feature to use 9/11 World Trade Center towers footage in a story other than the story of 9/11. And, youâ€™ve included images from Katrina and other disasters. Why?
MOORE: To contextualize the story. I want to make films that comment on whatâ€™s going on in the world, but not be ugly, stupid and raw about it by making dumb-ass angry-young-man new genre of self-aware derivativesâ€”like remakes of "Hostel" or some of Tarantinoâ€™s oeuvre thatâ€™s so tongue-in-cheek and disposable. Itâ€™s dangerous.
"The Omen" offered the chance to finesse an idea and say something. Itâ€™s a great storyâ€”almost Shakespearean. Doing the remakeâ€™s a bit like asking an actor if he wants to do "Macbeth" or "Death of a Salesman." Nobody in their right mind says no. Plus, there was the small but definite opportunity to contextualize as we do at the filmâ€™s beginning.
What?! Fortunately, there’s Gabriella Coslovich at The Age, who looks over Satanic appearances in horror films and concludes "As far as Hollywood devils go, the new Damien is one of the lamest."