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.
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.
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.
A discharged veteran with money problems reluctantly takes on a private contracting job. Terse thriller with action elements: the cast’s good, the action is handled in a no-nonsense manner, and there’s a pleasing downbeat tone. No surprises, but a decent programmer with subtext about post-military lives.
A veteran FBI agent becomes embroiled in a conspiracy involving the murder of a politician. Straightforward thriller with a couple of minor plot wrinkles and some decent lo-fi action and stuntwork. No game-changer, but works well enough within its self-imposed limitations.
The origins of an independent spy agency, set against the Great War. Messy and inconsistent prequel, showcasing series strengths (brio, some startling moments) and weaknesses (tonal awkwardness) in equal measure. A freewheeling approach to both history and emotion throughout render this flashy, but empty.
Two survivors of a murderous escape room decide to take on the corporation masterminding the games. Okay sequel that does much the same as before, though which seeks to expand on the franchise. Not all of it works, but this is brisk and sometimes creative fun for subgenre fans (an extended version adds another subplot).
An American tourist in Greece goes on the run after he becomes embroiled in a conspiracy. Somewhat baggy old-school (think Frantic) Euro-thriller mixing up kidnapping, corrupt cops, and political protests. The location work is great, but there’s a lack of urgency and – Boyd Holbrook aside – no sense that this is a genre movie.
The final part of the trilogy: events and characters between 1994 and 1666 are linked. A messy finale saddled with an offstage villain, variable accents, a weird lack of interest in its potentially-good ideas, and an hour of padding. Not great at all: precisely one interesting visual moment.