Starring:  Nell Tiger Free, Tawfeek Barhom, Sônia Braga, Ralph Ineson, and Bill Nighy

Directed by Arkasha Stevenson

20th Century, out now

A young American woman is sent to Rome to begin a life of service to the church but encounters a darkness that causes her to question her faith.

On the basis of both Immaculate and The First Omen, it’s really not a good idea to be an American nun in Italy, as you’ll likely be involved in a plot to hatch the Antichrist. It’s a shame that both films have come out so close together, as comparisons will inevitably be made, but each brings something different to the table, and who would have thought that a prequel movie to a long-dormant horror IP could be this good?

Serving as the Rogue One of The Omen series, we follow the days leading up to the opening of Richard Donner’s 1976 classic, and while a known ending might hamstring some movies, there’s more going on here than we might have imagined. Director Arkasha Stevenson, who shares screenplay credit with Tim Smith and Keith Thomas from a story by Ben Jacoby, must have experienced a certain schadenfreude when unnecessary franchise expander Exorcist: Believer proved to be a damp squib last year. His movie instead not only feels organically attached to the series, but brings in new facets to the mythos to keep it fresh.

Set in 1971, Rome is under siege from riots, and there’s a washed-out look to the cinematography that evokes Italian horror flicks of that era. Novice Margaret (an excellent Nell Tiger Free, Servant) has been under the wing of Bill Nighy’s cardinal and can’t wait to ‘take the veil’ and work at a girls’ orphanage. But Father Brennan (croaky Ralph Ineson, The VVitch) tracks her down and warns her that all is not well – the evil side of the church is preparing for an Antichrist and Margaret must prevent this from happening.

Among the jump scares and creepy nuns – Sonia Braga is great as formidable Sister Silva – there’s a horrific sense of dread around the way the young girls are abused, and at times it’s not an easy watch. Surely only a whisker away from earning an 18 certificate, this is not sanitised, audience-friendly horror, often going further than you’d expect. One moment is reminiscent of Isabelle Adjani’s ‘subway moment’ in Possession and is particularly disturbing, and the final ten minutes (like Immaculate’s) are relentless.

Verdict: Far far better than we had any right to expect, a 15-minute trim would have made it even leaner and a better film, but kudos to the film-makers for making something a bit different and showing that there’s still life in the old devil yet. 9/10

Nick Joy