This film carries echoes of both *The Exorcist* and *Rosemary’s Baby*, suggesting a lineage—though perhaps one where talent doesn't consistently pass down. It seems Ivan Kavanagh thought revisiting the premise of *Rosemary's Baby* was worthwhile, even though someone had already tried it before, with less than stellar results (*Look What Happened to Rosemary’s Baby* being the example). Laura (Andi Matichak) is a young single mother to David (Luke David Blumm). One night, she discovers refugees from the Bramford Building in her son's room. She flees to a neighbor and calls the police. As frequently occurs in these situations, the officers find no evidence of forced entry, and one detective (Cranston Johnson) clearly suspects Laura isn’t quite all there. However, the other detective, Paul (Emile Hirsch), is sympathetic, patient, and attentive—so agreeable, in fact, that it's obvious he will betray Laura eventually; we just have to wait for it. Soon after, David develops unexplained symptoms that a series of tests can’t diagnose, though they resemble what one might call Regan MacNeil Syndrome. It turns out Laura's father was the head of a satanic cult/pedophile ring (a somewhat belated exploitation of the “satanic panic,” really). Everyone in the know believes David is the result of Laura being raped by her father, just as Rosemary had believed she’d been with Guy when she unknowingly became the devil’s concubine. During her childhood, between ages 10 and 18, Laura—then known as Anna—experienced sexual servitude, and to be fair, the newspaper clippings characters examine are quite well done. It's unfortunate that the photo of the supposed victim shows an incongruously smiling Anna/Laura. Following the *Rosemary* blueprint, David isn’t the product of incest but of Laura’s encounter with the prince of darkness. As far as demonic offspring go, David is somewhat lackluster. Initially, he has to consume human flesh or else becomes violently and potentially fatally ill—making the son of El Diablo about as reliable as an addict experiencing withdrawal. He can overpower opponents much larger than himself, but this feels disappointingly ordinary, particularly when compared to Damien Thorn, who never had to get his hands dirty. The biggest flaw lies in the fact that Luke David Blumm’s performance, despite being a highlight of the film, isn't quite right for the role. David is more Regan than Damien (though it doesn't stop Kavanagh from openly copying *The Omen*'s conclusion), and as such, we want to see him find redemption rather than embrace the dark side.

Source on TMDB