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David Seltzer (written by)
6 June 2006 (USA) more
His Day Will Come more
A remake of the 1976 horror classic The Omen (1976), an American official realizes that his young son may literally be the devil incarnate. full summary | add synopsis
5 nominations more
Lionsgate opens for Solomon Kane, Genius takes Tell Tale
(From Fangoria. 10 November 2009, 12:05 PM, PST)
Cast Gathers at the Edge of the World
(From shocktillyoudrop. 9 November 2009)
Not as good or evil as the original. more (529 total)
Directed by | |||
| John Moore | |||
Writing credits(WGA) | ||
| David Seltzer | (written by) | |
Produced by | |||
| Giovanni Lovatelli | .... | line producer: Italy | |
| John Moore | .... | producer | |
| Jeffrey Stott | .... | executive producer | |
| Peter Veverka | .... | associate producer | |
| Glenn Williamson | .... | producer | |
Original Music by | |||
| Marco Beltrami | |||
Cinematography by | |||
| Jonathan Sela | (director of photography) | ||
Film Editing by | |||
| Dan Zimmerman | |||
Casting by | |||
| Susie Figgis | |||
| Jessica Horáthová | |||
Production Design by | |||
| Patrick Lumb | |||
Art Direction by | |||
| Katerina Kopicová | (as Katerina Kopicova) | ||
| Martin Kurel | |||
Set Decoration by | |||
| Patrick Smith | (as Patrick 'Paki' Smith) | ||
Costume Design by | |||
| George L. Little | |||
Makeup Department | |||
| Chris Burgoyne | .... | prosthetic makeup application | |
| Fiona Connon | .... | makeup department head | |
| Desideria Corridoni | .... | key hairdresser: Rome/Matera (as Desiree Corridoni) | |
| Aurelio Guzman | .... | prosthetic lab work | |
| Matthew Jorgensen | .... | prosthetic lab work (as Matt Jorgenson) | |
| Barbara Kichi | .... | key hairdresser | |
| Barbara Kichiova | .... | hair stylist | |
| Rich Knight | .... | prosthetic lab work | |
| Kris Kobzina | .... | prosthetic lab work | |
| Aaron Koons | .... | makeup effects lab technician | |
| Tomás Kuchta | .... | hair stylist | |
| Tomás Kuchta | .... | makeup artist | |
| Ryan McDowell | .... | prosthetic lab technician | |
| Ryan McDowell | .... | prosthetic sculptor | |
| Scott McGowan | .... | special makeup effects artist | |
| Matthew W. Mungle | .... | prosthetic and makeup effects designer | |
| Ruzena Novotna | .... | makeup artist | |
| Gabriela Polakova | .... | key makeup artist | |
| Glenn Pulliam | .... | special makeup effects artist | |
| Stephen Rose | .... | department head hair | |
| Eddie Vargas | .... | prosthetic lab work | |
| Brian Wade | .... | special makeup effects artist | |
Sound Department | |||
| James Ashwill | .... | foley mixer | |
| Benjamin Beardwood | .... | sound editor | |
| Jim Brookshire | .... | supervising adr editor | |
| Chris Carpenter | .... | sound re-recording mixer | |
| John T. Cucci | .... | foley artist | |
| Adriano Di Lorenzo | .... | utility sound: italy | |
| David Farmer | .... | additional sound effects designer | |
| Simon Firsht | .... | boom operator | |
| Kevin Globerman | .... | digital recordist | |
| Doc Kane | .... | adr mixer | |
| Andy Koyama | .... | sound re-recording mixer | |
| Martin Lonek | .... | second boom operator | |
| Skip Longfellow | .... | first assistant sound editor | |
| Bill Meadows | .... | sound recordist | |
| Timothy Nielsen | .... | sound effects designer | |
| Dan O'Connell | .... | foley artist | |
| Frank Smathers | .... | sound editor | |
| Bruce Tanis | .... | sound effects editor | |
| Ian Voigt | .... | production sound mixer | |
| Jay Wilkinson | .... | supervising sound editor | |
| Jean McGrath | .... | adr recordist (uncredited) | |
Special Effects by | |||
| Chris Fitzgerald | .... | animatronic sculptor | |
| Jan Holub | .... | special effects crew | |
| Lukas Jaromersky | .... | special effects technician | |
| Martin Oberlander | .... | special effects director | |
| Ondrej Pryca | .... | special effects technician | |
| Otto Requette | .... | prosthetic assistant | |
| Jirí Vater | .... | special effects technician | |
| Ian Wingrove | .... | special effects supervisor | |
Visual Effects by | |||
| Joe Arnold | .... | 3D artist: Cinesite | |
| Dave Bannister | .... | digital compositor: Cinesite | |
| Andrew Bardusk | .... | visual effects: Chains | |
| Karel Benes | .... | visual effects | |
| Dan Beresford | .... | production support | |
| Mike Bryant | .... | digital I/O: Cinesite | |
| Kevin Campbell | .... | software developer | |
| Warwick Campbell | .... | digital compositor: Cinesite | |
| Martin Caulton | .... | computer and video technician | |
| Laurent Cordier | .... | 3D artist: Cinesite | |
| Aimee Dadswell-Davies | .... | visual effects producer: Cinesite | |
| Jose Fernandez de Castro | .... | digital compositor: Cinesite | |
| Keith Devlin | .... | digital compositor: Cinesite | |
| Dave Early | .... | matte painting: Cinesite | |
| Guy Elson | .... | digital compositor: Cinesite | |
| Julia Frey | .... | visual effects producer | |
| Matt Johnson | .... | visual effects supervisor | |
| Richard Kratt | .... | digital compositor | |
| Steven Lawrence | .... | 3D artist: 11: 11 MediaWorks | |
| Christopher Learmonth | .... | visual effects editor | |
| Simon Maddocks | .... | 3D technical director: Cinesite | |
| Tom Martinez Jr. | .... | visual effects | |
| Jon Miller | .... | 3D artist: Cinesite | |
| Denisa Mrackova | .... | visual effects: previz | |
| Karen M. Murphy | .... | visual effects producer | |
| Robert Nall | .... | digital artist | |
| Roger Nall | .... | digital compositor | |
| Jonathan Neill | .... | CG supervisor: Cinesite | |
| Guy Nesfield | .... | digital I/O | |
| Artemis Oikonomopoulou | .... | 3D artist: Cinesite | |
| Chris Perschky | .... | technical services: Cinesite | |
| Daniel Pettipher | .... | production manager: Cinesite | |
| Glen Pratt | .... | digital compositor: Cinesite | |
| David Richardson | .... | technical services: Cinesite | |
| Gillian Roberts | .... | production: Cinesite | |
| Alexander Savenko | .... | 3D technical director: Cinesite | |
| Rasha Shalaby | .... | visual effects artist | |
| Jeff M. Sharar | .... | visual effects artist | |
| Marc Stevenson | .... | 3D artist: Cinesite | |
| Courtney Vanderslice | .... | production: Cinesite | |
| Karen Wand | .... | digital compositor: Cinesite | |
| Thom Wickes | .... | render/data wrangler: Cinesite | |
| Kathy Wise | .... | digital I/O: Cinesite | |
| Aviv Yaron | .... | 2D technical director: Cinesite | |
| Keith Barton | .... | production support: Cinesite (uncredited) | |
| Jamie Baxter | .... | digital artist (uncredited) | |
| Rick Cortes | .... | Inferno artist (uncredited) | |
| Tiffany Cullum | .... | 3D manager: Cinesite (uncredited) | |
Stunts | |||
| Jakub Berdich | .... | stunts | |
| Radek Bruna | .... | stunts | |
| Pavel Cajzl | .... | stunt coordinator | |
| Frantisek Deak | .... | stunts | |
| Zuzana Drdacka | .... | stunts | |
| Pavel Dvorscik | .... | stunts | |
| Petr Hnetkovsky | .... | stunts | |
| Jindrich Klaus | .... | stunts | |
| Jiri Kraus | .... | stunts | |
| Ladislav Lahoda | .... | stunt supervisor | |
| Robert Lahoda | .... | stunt rigger | |
| Miroslav Lhotka | .... | stunt double | |
| Jan Loukota | .... | stunts | |
| Ivan Mares | .... | stunts | |
| David Mottl | .... | stunts | |
| Jan Petrina | .... | stunt double: Liev Schreiber | |
| Jan Petrina | .... | stunts | |
| Jaroslav Psenicka | .... | stunts | |
| Jan Schmied | .... | stunts | |
| Tomas Tobola | .... | stunts | |
| Karel Trojan | .... | stunts | |
| Miroslav Valka | .... | stunts | |
| Kamila Zenkerová | .... | stunts | |
Casting Department | |||
| Nancy Bishop | .... | location casting | |
| Deborah Maxwell Dion | .... | casting: Los Angeles | |
| Jirí Hrstka | .... | extras casting | |
| Isabella Hyams | .... | casting assistant | |
| Matthew Lessall | .... | casting executive | |
| Caitlin McKenna-Wilkinson | .... | adr voice casting | |
Costume and Wardrobe Department | |||
| Zuzana Bursíková | .... | set costumer (as Zuzana Bursikova) | |
| Gracie Cox | .... | costume production assistant | |
| Bela Friedlová | .... | set costumer (as Bela Friedlova) | |
| Gabriela Horská | .... | assistant costume designer (as Gabriela Horska) | |
| Maria Hubackova | .... | set costumer | |
| Carlane Passman | .... | assistant costume designer (as Carlane Passman Little) | |
| Mary Lou Reinbold | .... | costumer | |
| Patricie Soptenková | .... | set costumer (as Patricie Soptenkova) | |
| Dita Valentinova | .... | costume coordinator | |
| Adam Watt | .... | additional costume production assistant | |
| Sarka Zvolenska | .... | costume supervisor | |
Editorial Department | |||
| Tzarina V. Edillon | .... | first assistant editor | |
| Skip Kimball | .... | digital intermediate colorist | |
| Vít Komrzy | .... | post-production | |
| Jim Passon | .... | color timer | |
| Chris Regan | .... | color timer | |
| Gary Burritt | .... | negative cutter (uncredited) | |
Music Department | |||
| Pete Anthony | .... | conductor | |
| Pete Anthony | .... | orchestrator | |
| Marco Beltrami | .... | music arranger | |
| William Boston | .... | music arranger | |
| William Boston | .... | orchestrator | |
| Jeff Carson | .... | preview music editor | |
| Chris Cozens | .... | auricle control systems | |
| Alex Gibson | .... | supervising music editor | |
| Isobel Griffiths | .... | orchestra contractor | |
| John Kurlander | .... | score mixer | |
| Dana Niu | .... | orchestrator | |
| Roy Prendergast | .... | music editor | |
| Buck Sanders | .... | score co-producer | |
| Marcus Trumpp | .... | orchestrator | |
Transportation Department | |||
| Massimiliano Rocchetti | .... | transportation coordinator: Italy | |
| Tony Vizina | .... | driver: cast | |
| Pavel Voracek | .... | transportation captain | |
Other crew | |||
| Andrea Alunni | .... | location manager: Italy | |
| Cecilia Alvarenga | .... | production coordinator: Italy | |
| Peter Arpesella | .... | adr voice group | |
| Lauren Barnhart | .... | assistant: Liev Schreiber | |
| Bostic Beard | .... | clip researcher | |
| Michaela Berková | .... | assistant: Glenn Williamson (as Michaela Berkova) | |
| Lorenzo Caccialanza | .... | adr loop group | |
| Vera Cerbara | .... | dialogue coach | |
| Vera Cerbara | .... | translator: Italian | |
| Sarka Cimbalova | .... | accommodation coordinator | |
| Hana Duplinska | .... | assistant: John Moore (as Hanka Duplinska) | |
| Michal Engrth | .... | assistant accountant | |
| Sam Feuer | .... | adr voice | |
| Stephen French | .... | consultant: internet | |
| Stephen French | .... | documentary filmmaker | |
| Stephen French | .... | newsreel sequences | |
| Yasmine Hanani | .... | adr loop group | |
| Zarko Ivkovic | .... | location manager: Cro unit | |
| Petr Kavalek | .... | assistant production coordinator | |
| Alice Kheilova | .... | interpreter | |
| Alice S. Kim | .... | assistant: Jeffrey Stott | |
| Karel Kubis | .... | key set production assistant | |
| Kym Langlie | .... | unit publicist | |
| Eric Layne | .... | production accountant | |
| Lenka Marsalkova | .... | production coordinator | |
| Natalie Mathes | .... | post-production accountant | |
| Sharon Milton | .... | tutor | |
| Joey Naber | .... | adr voice | |
| Lanny Nenicka | .... | cashier | |
| Kamila Ostra | .... | production assistant | |
| Kamila Ostra | .... | set production assistant | |
| Nada Pinter | .... | script supervisor | |
| Lucie Pokorná | .... | assistant: Jeffrey Stott | |
| Marketa Poruba | .... | production secretary | |
| Denisa Pugliova | .... | assistant: John Moore | |
| Eda Raban | .... | set caterer | |
| Alya Sako | .... | adr voice | |
| Brian Schornak | .... | assistant: Glenn Williamson | |
| Cristiano Sebastianelli | .... | cashier | |
| Jan Seidl | .... | key production assistant | |
| Faujja Singh | .... | armorer | |
| Valerio Stano | .... | set production assistant | |
| Charline St. Charles | .... | clearances coordinator | |
| Andy Stephens | .... | aerial operations manager: Flying Pictures Ltd. | |
| Michael Swan | .... | location manager: additional unit | |
| Barney Wrightson | .... | aerial operations assistant: Flying Pictures Ltd. | |
Thanks | |||
| Richard Donner | .... | special thanks | |
The Omen 666 (USA) (working title)
La profecía (Argentina) (Ecuador) (Spain) (Venezuela) [es]
A Profecia (Brazil) [pt]
Das Omen (Germany) [de]
I profiteia (Greece) [el]
La malédiction (France) [fr]
Omen 666 (Sweden) [sv]
Omen 666 (Turkey: Turkish title) [tr]
Oomen (Estonia) [et]
more
Rated R for disturbing violent content, graphic images and some language.
110 min | Philippines:105 min (cut)
1.85 : 1 more
DTS | SDDS | Dolby Digital
UK:15 | Finland:K-15 | Ireland:15A | Germany:16 | Malaysia:18PL | Philippines:R-13 | Norway:15 | Australia:MA | Switzerland:16 (canton of Vaud) | Switzerland:16 (canton of Geneva) | Argentina:16 | Hungary:18 | Italy:VM14 | Denmark:15 | South Korea:18 | Hong Kong:IIB | Singapore:PG (cut version) | USA:R (certificate #42658) | France:-12 | Sweden:15 | Netherlands:16 | Singapore:M18 | Portugal:M/16 | Iceland:16 | New Zealand:R16 | Brazil:16 | Japan:R-15 | South Korea:15 (cable rating)
The role of Katherine Thorn was originally offered to Rachel Weisz who declined because she was pregnant at the time. Other actresses considered for the part were Laura Linney, Hope Davis and Alicia Witt, before Julia Stiles who finally got the part. 'Stiles' and Mia Farrow were both in a play together, and Stiles suggested to director John Moore that they use Farrow for the role of Mrs. Blaylock (Damien's nurse). Initially Moore didn't think that Farrow would accept the role, but Stiles convinced him she would. Eventually he just rang up Farrow at her home and offered her the part. more
Factual errors: Even though Thorn is supposed to be the American ambassador, his car does not have diplomatic service number/license plates. more
[from trailer]
Katherine Thorn:
Don't let him kill me.
more
References Don't Look Now (1973) more
A DOCTOR, PLEASE more
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| The Omen | Rosemary's Baby | The Final Conflict | Damien: Omen II | Breakfast on Pluto |
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I really liked the original Omen. It didn't need to be re-made. There is nothing that modern film-making has brought to this film to make it stand out against the original. It's not as scary, not as honest or raw. The original film is genuinely disturbing -- from the dogs, to the nanny, to Damien... this modern remake just isn't as convincing. It has it's moments, and isn't that terrible, but there's an annoying distance, or separation between the subject matter and the film. It's too clean, too polished... it just isn't evil enough.
The music is not as good, the deaths are not as disturbing. But should we judge this film on its own merits? No, because it's a carbon copy remake. There is very little new material worth mentioning.
The only positive thing to say is that for anyone who hasn't seen the original, it's worth a look -- on DVD. But even then I'd recommend the original.