34
Metascore
9 reviews · Provided by Metacritic.com
- 50Chicago Sun-TimesRoger EbertChicago Sun-TimesRoger EbertA terrific opening. But, alas, the moment The Final Conflict turns to dialogue and a plot, it loses its inspiration.
- 50Time OutTime OutIt does mark a return of sorts to the stylishness of The Omen after the tackiness of Damien - Omen II.
- 50The Globe and Mail (Toronto)Jay ScottThe Globe and Mail (Toronto)Jay ScottGraham Baker, a British director of television commercials, makes a debut that is technically auspicious, and Robert Paynter and Phil Meheux, the cinematographers, have approximated the rich, chocolaty chiaroscuro of The Godfather saga. Does anyone care? [24 Mar 1981]
- 40EmpireIan NathanEmpireIan NathanUnfortunately, half the time this feels more like an Omen parody than a chance to give it a great send off.
- 40Washington PostGary ArnoldWashington PostGary ArnoldThere's sure nothing purgative about the kind of anxiety the filmmakers are exploiting. If anything, it condemns them to strictly degenerate company. [24 Mar 1981, p.B8]
- 33The A.V. ClubKeith PhippsThe A.V. ClubKeith PhippsDirector Graham Baker has little gift for atmosphere, and apart from one inspired sequence, I suspect I'll forget every aspect of this movie in a couple of days.
- 30The New York TimesJanet MaslinThe New York TimesJanet MaslinIn the cast are many, many dogs, who are charmed by Damien in a way no audience is likely to be.
- 30NewsweekDavid AnsenNewsweekDavid AnsenNot only the silliest chapter in the Omen trilogy, it's the dullest and most inept. [30 Mar 1981, p.83]
- 25TV Guide MagazineTV Guide MagazineA dumb end to a dumb series of movies that, in retrospect, play like the paranoid ramblings of a religious fundamentalist who sees unholy anti-Christian conspiracies behind every world event.