[Film Review] Orphan: First Kill (2022)

It’s been 13 years since Esther (Isabelle Fuhrman) first terrorized audiences in 2009’s Orphan and now Esther the murderous maniac with a glandular disorder is back in Orphan: First Kill, a prequel directed by William Brent Bell (Stay Alive, The Boy) .

Set a few years previous to the first movie, Orphan: First Kill sees Esther violently escape from an institution in Estonia and make her way to the United States, impersonating the missing daughter of a rich and elite Albright family, consisting of socialite Tricia (played by Julia Stiles), artist Allen (played by Rossif Sutherland) and their overachieving son Gunnar (Matthew Finlan). As Esther attempts to affiliate the family and keep her true identity a secret using any means necessary, she soon discovers she’s not the only one harbouring twisted truths.

Semi-based on the true crime story of Barbora Skrlová, Orphan proved a shocking story and sent ripples through the horror genre largely thanks to Isabelle Fuhrman’s terrifying and coldly calculated performance as the murderous Esther. So when news of a follow up prequel broke, it garnered intrigue as to the origin story of Esther and her modus operandi of infiltrating innocent familial units to wreak homicidal havoc. Orphan: First Kill is not that story however. The film opens on Esther’s time in an institute AFTER committing her first kill, a situation which is briefly mentioned with very little detail. So contrary to the film’s title, viewers do not learn much about her actual first kill nor her origin story and raison d’etre. Instead, it focuses on Esther’s time between her first kill and when we meet her in Orphan (2009).

When Orphan was first released, Isabelle Fuhrman was barely 12 years old, and so now as an adult returning to the role, the question of the methods that were to be undertaken to de-age the actress was a hot topic. The use of CGI, special effects make-up and perspective cinematography has all been utilised to give the illusion that Fuhrman has not aged at all. At times, the CGI and forced perspective looks a little obvious and almost comical, taking the viewer out of the movie’s universe. 

In spite of the misleading film title and dodgy CGI, Orphan: First Kill carries strong performances from both Fuhrman and Julia Stiles, depicting the psychopathic extents that both women would go to protect their livelihood and deepest darkest secrets. The film’s violence is brutal but not redundant, and the imagery used within the movie to symbolise what is hidden in the darkness is an intelligent inclusion without coming across as pretentious. The twist halfway through is unexpected but an interesting dynamic to insert within Esther’s narration. Is this prequel necessary? Absolutely not, but it’s an enjoyable popcorn slasher horror with plenty of truly savage and bloodthirsty moments.

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