Tumgik
#omen 3 the final conflict
rye-views · 3 months
Text
Tumblr media
Omen III: The Final Conflict (1981) dir. Graham Baker. 7.2/10
I wouldn't recommend this movie to my friends. i wouldn't rewatch this movie.
Omg i didn't even realize this was Sam Neill from Jurassic Park.
It would be freaking crazy for an ambassador to kill themselves like that.
All throughout Damien's monologue about Christ, I'm like, what is the point of the anti-Christ? Also, it's so rude to just call him the anti-christ?
Here we go again, trying to make cute dogs seem scary. Aww, this fox. Takes me back to Auntie Mame.
How was the disciples of the watch formed? and how did Damien gather them? So, why was Damien naked on the floor like that? I don't understand how we got Barbara to do that. If we can control people, why don't we just take over the world like that? What kinda lack of free will.
I still think we killed him too easily.
2 notes · View notes
insignificantagony · 4 months
Text
Horror films starring Sam Neill will always be one of my favourite genres
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
83 notes · View notes
horrorgirlblog · 2 years
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
93 notes · View notes
rystiel · 10 months
Text
(season 2 good omens spoilers)
ok… ok. ok. just finished season 2 and i can’t believe we got ineffable bureaucracy being happy together before we got ineffable husbands being happy together. why can’t they be happy together PLEASE. please.
8 notes · View notes
fanofspooky · 2 years
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
The Final Conflict
26 notes · View notes
quietbreeze97 · 9 months
Text
Guess who finally finished Good Omens season 2 and is now a quivering WRECK??! This girl!
5 notes · View notes
tepli-mravenci · 9 months
Text
I'm gonna be honest, while I did ship Azi and Crowley in a fanon way I didn't actually want them to become a romantic couple, I was clinging onto that aroace platonic relationship with my nails and teeth for the entirety of season 2, but the drama loving bitch in me watched the entire finale with my mouth hanging wide open even after the credits rolled.
Me and my friend were both screaming "No no no no no!!!" when Ineffable bureaucracy was becoming canon, cause neither of us liked that ship (and we thought it was kinda too fast and out of nowhere), and then everything that happened after - we were just holding onto everything we could, barely breathing, praying that it won't actually happen and then THAT happened and we went CRAZY, cause neither of us actually EXPECTED that and then that followed and we were just flabbergasted completely but also we LOVED that it went BAD because we're EVIL
And now I feel like someone Caesar'd me in my own house
2 notes · View notes
guttersnarls · 2 years
Video
youtube
Nazarene, charlatan, what can you offer humanity? Since the hour you vomited forth from the gaping wound of a woman, you've done nothing but drown man's soaring desires in a deluge of sanctimonious morality. You've inflamed the pubertal mind of youth with your repellent dogma of original sin. And now you absolve in denying them the ultimate joy beyond death by destroying me? But you will fail, Nazarene, as you have always failed
8 notes · View notes
80smovies · 2 years
Photo
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
14 notes · View notes
kjudgemental · 2 months
Text
The Omen III: The Final Conflict - Classic Horror Film Review
Director: Graham Baker Production Company: Mace Neufield Productions (distributed by Paramount) Country: USA Year: 1981 In preparation for the upcoming release of The First Omen, starring Bill Nighy amongst others (how they roped him into it I’ve no idea), I thought I’d catch up with the films in the franchise I hadn’t seen (aka, all except 1 and 2). The Omen III: The Final Conflict completes…
Tumblr media
View On WordPress
0 notes
elainemorisi · 9 months
Text
aaaaw. yes, that was a Christmas special and not a season, but indeed! acting!
also scoring though. I feel like the scoring is not getting enough credit
1 note · View note
thepunktheory · 2 years
Text
Halloween Horror: Omen III - The Final Conflict
Halloween Horror: Omen III – The Final Conflict
Hey guys!Today we’re talking about the third The Omen movie. Just to let you know, I won’t be reviewing the fourth movie since that wasn’t available on Disney+ in my country, but we will be taking a look at the remake. But for now, let’s talk about The Final Conflict! The Plot (according to Rotten Tomatoes): In this second sequel to “The Omen,” Antichrist Damien Thorn (Sam Neill) is now a…
Tumblr media
View On WordPress
1 note · View note
assumptionprime · 21 days
Text
I need to rant about the Fallout show
Because this is the person I am. Full spoilers, so I’m putting it behind a Keep Reading:
I’m a huge sucker for Fallout (yes even 3&4). And I went into the Fallout show with some… trepidation. Amazon has been a mixed bag on adaptations, we could have been blessed with a Good Omens, or cursed by a Rings of Power. But early buzz and reviews seemed positive, so I slammed the whole thing in one night with my spouse (we were staying at my in-laws house and they have Prime. Time was a factor.)
And y’know? I was really enjoying it! The characters were fun, the plot was engaging enough, and the costumes and visual design were extremely on point. There were some minor lore quibbles to be had: Ghouls needing some kind of medicine to not go feral. Really, more Enclave holdouts? Timeline and date whoopsies. Wait are they in California? Where the hell is the NCR?
I made a face at Shady Sands being bombed and the NCR collapsing. But I wasn’t completely out of the story. Based on what I had seen so far, I thought it was building to a reveal that the Brotherhood had done it. That the more zealous turn they took in Fallout 4, which has clearly carried to how they are portrayed in the show, lead them to bombing the NCR. War never changes, as they say. Maximus even says when asked what happened to Shady Sands: “The same thing that always happens.” Yeah, it leans into Bethesda’s weird desire to keep the Fallout world in a state of perpetual wastelands full of raiders and no civilization, but it wasn’t so terrible that I couldn’t still enjoy the show.
But then.
BUT THEN.
Episode 8, and the reveal of Vault-Tec apparently being the ones who dropped the first bomb in the Great War.
I was surprised to hear that some fans have apparently been debating over who fired first? Some even asked Tim Cain about it?
That’s really odd to me because, in the games, there is already a pretty definitive answer to which side sparked the Great War:
Tumblr media
Who fucking cares?
The world ended. What does it matter who shot first?
There is no China, no United States, no communists or capitalists left to fight about it. 
It's a powerful little bit of lore.
For all the posturing, all the promises from each nation that their way is the true way, all the nationalism, the militarism, and blind loyalty to flags over humanity, they both lost. Everyone lost. All that remains of the ideologies and nations that were so important to the people of 2077 is faint echoes over vast expanses of radioactive ash.
Who started the end?
No one knows. No one cares.
It only matters that their conflict was so bitter, so all-consuming, that one of them dropped their bombs, and the other dropped theirs in return.
The truest legacy of the old world is the devastation left by their final, most horrific war.
Can we do better?
Then the show says "Nah, Vault-Tec did it. It's not a commentary on human nature and the futility of self-destructive conflict, it was actually these guys, these mustache twirling villains huddled in a darkened room literally plotting to end the whole world so they can rule what's left."
And I can see the attempt to make this a critique of capitalism. I actually paused the show to praise a bit of writing when Coop is talking with Charlie before the war, when Charlie tells him that the “cattle ranchers are in charge” to illustrate how capitalism and corporations hold too much sway over the government, it felt very in line with how in New Vegas one of the recurring critiques of the NCR is that all the real power is in the hands of the “brahmin barons.” Nice parallel, spot on!
But “we’ll set off total thermonuclear war so we can rule the ashes and have a True Monopoly” isn’t capitalism. It’s just dumb “we’re the baddies” writing.
And then Shady Sands was also Vault-Tec?! Forget any meaning in the NCR falling to the same corruption and/or factional fighting that consumed the old world, they were literally just bombed by the evil shadow conspiracy that apparently also killed the old world. Hank gives this speech about factions fighting and the futility of it all while we see the Brotherhood fighting Moldaver’s NCR remnant, and like, no! You can’t say that when you’ve made it so neither the old world or the NCR fell to war with another faction! It was you! You and your band of cryogenic supervillains!
I don't care that they changed it. Timelines and dates and little retcons don’t bother me all that much. I care that they changed it to something so much worse.
310 notes · View notes
baldchristianborle · 10 months
Text
Defending Aziraphale cause I KNOW y’all are gonna come for him:
1. a lot of people say that him deciding to go back to heaven is a character regression and doesn’t make sense- but it does! aziraphale has 6000+ years of repressed trauma from doing what heaven tells him! and even if he does seem to be taking steps forward (shades of gray), he never fully takes that big leap away from heaven (very LIGHT shades of gray). you can’t just recover from it!
2. also, we never actually see him get over the demons bad angels good thing. crowley is the only exception to this rule, in his eyes. he still views the Fall as a bad thing, which is why he wants them to be angels together!
3. people are also saying that it’s crazy ineffable bureaucracy got together so fast without too much internal conflict, unlike the (now divorced) husbands. but it makes sense because GABRIEL AND BEELZEBUB RAN THE SYSTEM. AND CROWLEY WAS CLEARLY A HIGH RANKING ANGEL WHO FELL VERY EARLY ON, MAKING HIM VERY DISILLUSIONED WITH THE SYSTEM. aziraphale mever got that chance- he was a lower ranking angel that was beaten down by this system, and as such doesn’t see that it’s the system that’s corrupt, not just the angels within. he still believes that heaven is a GOOD place filled with BAD angels, because he has literally never had the chance to learn otherwise.
and this is why it narratively makes perfect sense for him to become the supreme archangel- he’ll finally be able to see that the idea of heaven is corrupt because he’ll be in charge of it!
4. aziracrow have also been shown to be a direct parallel to nina and maggie. in the last episode, nina says that they’re not ready for a relationship because she just left her incredibly toxic and abusive partner. aziraphale and nina are in very similar situations! he literally just left heaven, which was incredibly toxic and abusive, and might not be ready for a relationship with crowley yet! however, unlike nina, he doesn’t fully believe that his previous situation was toxic, so he goes back- because he hasn’t seen enough to understand!
5. he clearly wants to FIX the system, not just be a part of it, because he is intrinsically such a selfless being. he still hasn’t learned to put what he actually wants before what he thinks everybody needs yet, because, again, he doesn’t understand how heaven works!
in conclusion i love aziraphale and i haven’t slept because i’ve been thinking about the finale so lmk if this doesn’t make sense but i will not be changing my thoughts about aziraphale
ALSO KEEP REWATCHING GOOD OMENS WE NEED SEASON 3
612 notes · View notes
deramin2 · 9 months
Text
I don't know how to really express this except to come across as a "kids these days" scold, but so much of the criticism of queerness in Good Omens would simply not be a thing if kids these days watched more 20th century queer media. Or more complex indie queer media in general.
People seem to want a show that's like the straight stories they grew up with but gay. Or the gay fanfiction they grew up with. But that's not really the tradition it's coming from. First off the novel was released in 1990. Queer film classics of the time are Dead Poet's Society (1989) and Torch Song Trilogy (1988). The TV miniseries Tales of the City (1993) wasn't made until 3 years later and it was so far out there it never had a huge audience. Philadelphia (1993) is also 3 years out and was basically the first big studio queer film. The first fluffy queer Hallmark-style romcom wasn't until Big Eden in 2000, a full 10 years after publication.
Queer stories from the time it was written were about complex and often fraught relationships between people who the world was trying to force apart. There is an incredibly strong tradition in queer films of relationships with no guarantees they will work out both in the face of their personal baggage and the weight of the world. Take a film like Torch Song Trilogy that's about the two great loves of Arnold Beckoff's life over 9 years and how homophobia shapes them. Both externally (especially Allen) and internally like Ed struggling with his bisexuality and being terrified of being publicly out. Written and starred in by Harvey Fierstein, who identified as a gay man at the time and only came out as nonbinary last year.
The Boys In The Band (1968 play, filmed 1970 and 2020) was a monumental moment in Broadway history where finally there was a play about gay men in their own words where no one died and very strongly showed that homosexuality doesn't make people miserable but homophobia sure does. But that homophobia also throws their personal lives into constant turmoil and none of them are in happy relationships, although Hank and Larry are devoted to each other in their own fucked up way.
"Relationships are complicated and hard to make work and sometimes a struggle against the odds" is an aesthetic of classic queer film making. Partly it was influenced by the Hays Code (although independent films were not bound to it), partly influenced by the rampant queerphobia in society at the time that was inescapable. But it's also an aesthetic choice to resist the banal and unrealistic relationship depictions of straight media. There are actual stakes to the relationship. Queer people were actively resisting a world that said "Romance is seeing someone across the room and instantly falling in love with each other and little conflicts happen along the way but ultimately they're destined to be together and everything is happily ever after." Recall that "stalking as romance" was a completely inescapable trope in 1980s straight romance films, and every goddamn movie was being turned into a romance film.
So queer people in film and television when they can make what they please have a long tradition of saying instead "People don't always realize the feelings they've developed for a queer partner right away. They may have reasons for denying those feelings that are both a reflection of the cruelty in society and of their own insecurities. People struggle with where they belong and their relationships reflect that. Loving someone doesn't mean they don't also drive you crazy and you might fight with them constantly. But that doesn't negate the love or that feeling that even if things aren't okay, they're better with that person around. But maybe that person can't stay around. The world may be against you. And also maybe you don't just want that one person in your life. Soulmates is a very flawed model. Sometimes the strongest love is a struggle with yourself and the world and your person. You have to overcome yourself first. Happily ever after is a lie. You may be happy for a while, and hopefully for a long while, but everything ends. And you have to be ready to love again. Also your platonic bonds are just as important and life-altering as your romantic ones. Sometimes those platonic bonds include fucking if you want them to. Real life isn't a bunch of platitudes and world-altering moments, it's daily work to better yourself and the world around you. Especially when things just fucking suck. But also remember to have fun and fuck the haters. People who don't support you can eat rocks and you should yell at them more to shut the fuck up."
That is a fundamentally different outlook on what a "good relationship depiction" looks like. Personally, I thought I hated romance movies and then I started watching queer romance movies and discovered I love them and watch them all the time. Because it turns out what I hated was relationships being shown that had nothing at all to do with reality and privileged incredibly toxic ideals. Finally there was complexity, there were stakes, and there were people who had to truly want to be together enough to fight the world for it and not because they happened to be there. There were people actually talking out their problems and looking for resolutions. (And sometimes that resolutions was "I can't fucking deal with this bullshit anymore and I'm out.") For the first time it felt real.
I'm an aroace trans gay man. Nothing about relationships or being in relationships has come easy to me, and the whole paradigm of straight patriarchal romance depictions makes absolutely no sense to me. It's completely alien. Queer romance stories actually feel human.
And that's the tradition Good Omens is coming from, even as it's being retold in 2019-2023 and hopefully beyond. Gaiman's work has always been based in that queer media paradigm. (I've been remiss and daunted and haven't read Pratchett but from what I do know his work also seems to sit more in that world view.) It's a beautiful cinematic tradition and it's baffling to me that people would resist it instead of embracing it for being honest.
And that's when I turn into a crotchety old man complaining about the youth not connecting with the history of their beautiful culture and instead begging for assimilation into a shithole allocishet media landscape that doesn't actually want them except for their money and has nothing at all interesting or valuable to say. But it's very funny (annoying) to me when people claim Good Omens is someone against queer culture when it's so thoroughly bathed in the best of queer media's storytelling traditions and what people are asking for is straight media with the serial numbers filed off. Like, stop being boring please and know literally anything about the culture the adults in the room lived through and were influenced by. The world didn't begin in 2015.
EDIT: I also want to add that in straight media arcs are linear. Traditionally in queer media arcs are cyclical. Queer media very often depicts people going around in circles relearning the same lesson over and over as they inch towards it sinking in. But every time they go through the cycle they gain just a little bit more enlightenment and slowly move towards a better place. From the comments this is an immensely important distinction. People don't actually have cathartic moments where suddenly all their past bad programming is shed and they saunter forward a new person with none of their old baggage. In reality people fall into the same patterns over and over even though they have had every opportunity to learn better. "People magically get better" is a trope of straight media that's an outright and frankly dangerous lie. Again, Good Omens follows the queer tradition not the straight one and it's depicted 6,000 years of that cycle. The world didn't end, and the wheel keeps turning, as it always has and always will. That's so fundamental to queer storytelling traditions I forgot to even mention it.
418 notes · View notes
Unpopular opinion but one of my predictions for Good Omens season 3 is that there will be no apology dances from any parties whatsoever.* Neither of them has anything to apologise for, or if you like, both of them have things to apologise for. Neither of them was "wrong™️." (Or, more accurately, both of them were equally wrong.)
If you haven't understood by now that both their actions during the final fifteen were absolutely in line with their characters, not to mention the added miscommuncations and a simple case of bad timing, then I can't help you. They put each other in impossible situations, and neither of them could have done anything different (without actually going ooc).
You might relate to the experiences or motivations of one character more than you do to the other, but that doesn't make the other one objectively wrong. If you put aside your own bias and examine their characters, their storylines (i. e. their vastly different experiences with Heaven despite knowing each other for more than 6000 years), and motivations you should be able to understand and explain their behaviour in the context of the story. Add in the miscommunication and the bad timing, which Neil Gaiman & John Finnemore have expertly made visible to us, the audience, but of course not to the characters, and violá! Great piece of writing that is highly enjoyable to analyse and discuss.
Of course you can still pick Blorbo A's side. But if you are thinking that means the moment they are in conflict with Blorbo B your job is to go at Blorbo B with the worst faith approach possible, to prove to all the world fandom that they are and always have been The Worst™️ not to mention objectively wrong, while your Blorbo A is the most innocent cinnamon roll in the world who has never done anything wrong ever and is the clear moral winner of the conflict, then that's a skill issue. Also you might just want to go outside and touch some grass.
*= Except maybe in flashbacks. I really want to know what happens in 1941 Part III that Aziraphale had to do the dance.
213 notes · View notes