Holocaust 2000 [AKA Rain Of Fire / The Chosen] (1977, dir. Alberto De Martino)

An industrialist leading a nuclear power initiative believes that there are satanic forces supporting his plan. Gleeful The Omen ripoff, complete with a rich cast of second-string familiar faces, Kirk Douglas naked, fun though variable effects work, a Morricone score, and no shame at all.

Here’s the trailer.

The Final Conflict [AKA The Omen III: The Final Conflict] (1981, dir. Graham Baker)

The now-adult Thorn is targeted for assassination. Muted conclusion to the trilogy (a reboot for TV was later attempted), with lots of pulpy elements (a massacre of the innocents, a monk hit-squad, the second coming) not really coming together. Some sly moments, though, and it’s well shot.

Here’s the trailer.

Damien: Omen II (1978, dir. Don Taylor [and Mike Hodges])

The now-adolescent Damien Thorn discovers who he is: and so do others. The others, inevitably, die. More of the same, though with conspiracy and related angles added, if not altogether cohesively integrated. Still, there’s a death every few minutes, and a great Jerry Goldsmith score. The Final Conflict soon followed.

Here’s the trailer.

The Omen (1976, dir. Richard Donner)

An American diplomat discovers his adopted son is the Antichrist. Influential if over-serious post-The Exorcist studio horror pic, balancing classy casting and widescreen production values with setpiece deaths. Three sequels (one for TV), a TV series, and two remakes (one US, one Tamil) followed.

Here’s the trailer.

Firestarter (2022, dir. Keith Thomas)

A girl with pyrokinetic powers is on the run from the authorities. Perfunctory second adaptation of the Stephen King novel, unsure quite what to do with the source material. At its best, it apes the previous version, no classic itself. A throbbing John Carpenter score helps some.

Here’s the trailer.

The Gray Man (2022, dir. Anthony Russo & Joe Russo [AKA The Russo Brothers])

A CIA assassin is targeted for elimination: a global manhunt ensures. Very straightforward action thriller, heavily reliant on star charisma and on ‘splodey excess over much in the way of well-staged sequences. One-note throughout, with diminishing results over time.

Here’s the trailer

Jurassic World: Dominion (2022, dir. Colin Trevorrow)

Dearing and Grady enlist Grant and Sadler to rescue a girl holding the secret to preventing ecological collapse. A loosely-plotted series of chases, escapes, and fan service this time out. Fun while it’s on but doesn’t cohere, lifting bits from across the franchise as well as from Damien: Omen II and sundry Bond flicks.

Here’s the trailer.

Interceptor (2022, dir. Matthew Reilly)

An officer defends her missile defence control room from nuclear terrorists. Well-contained action flick more than happy to blend Die Hard ripoff and base under siege thrills. Does precisely what it intends with no surprises: a solid job all around.

Here’s the trailer.

The Batman (2022, dir. Matt Reeves)

A reclusive vigilante meets his nemesis. Skilful if lengthy revisiting of the caped crusader, here early in his career and focused at least in part on actual detective work. Impressive and never less than proficient throughout in a Seven-ish kinda way, if not exactly necessary. A confident walk down a well-worn path.

Here’s the trailer.

Scream [AKA Scream 5] (2022, dir. Matt Bettinelli-Olpin & Tyler Gillett)

25 years after the original Woodsboro killings, a new series of murders. Cheerily meta sequel / reboot / remake, better with the self-aware jokes than with real suspense, despite a couple of inventive moments. Hard to care about the new cast or the murder-mystery element though, which robs the movie of impetus.

Here’s the trailer.