My favorite character in John Moore’s remake of The Omen is the Pope. I am not entirely sure which Pope it is, and it is more of a cameo role really, but every time the pontiff graced the screen, I knew why I liked this film so much. He first features in a brief conference scene. His cardinals (I presume) are concerned that a recent meteor shower is the final sign of the birth of the Anti-Christ, as predicted by the book of Revelations. These concerns are presented to the Pope in a multimedia display, with numerous screens airing a student film depicting scenes from the destruction of the Space Shuttle Columbia to September 11. In his second appearance, after hearing some disturbing news, the Pope drops his glass of red on the floor, while still in bed. I have never been to Vatican City, but I doubt this is how things go down. Yet, the film’s disconnectedness from the laws of reality, personified here by its treatment of the leader of the Catholic Church, got me. Richard Donner’s original Omen was a pig in a cocktail dress, a silly story treated with undeserving earnestness. Here, John Moore tells it like it should be told.