Signature Entertainment presents Orphan: First Kill in UK cinemas from August 19, 2022.
Synopsis
She will kill to be part of the family. Esther’s terrifying saga continues in this thrilling prequel to the original and shocking horror hit “Orphan.” Esther’s (Isabelle Fuhrman, Orphan) secret may be out but this time around there’s more to this psychotic young girl than meets the eye. Escaping from the psychiatric facility that housed her, Esther hides in plain sight by assuming the identity of a missing American child whose mother (Julia Stiles, Dexter) is matriarch to one of the wealthiest families in the United States. Will Esther’s thirst for blood destroy the strong family ties or will she discover that even a mother will cross the line to protect her family?
Review
Remember back in 2009 when the now Black Adam director Jaume Collet-Serra whipped the rug out from underneath us with Orphan? Well Isabelle Fuhrman’s iconic Esther is back for another round of terror is the delightfully campy Orphan: First Kill which hits UK cinemas on August 19.
A thirteen year gap between films is an insane wait in the era of the modern franchise. But the story of how Esther came to be placed with the Coleman’s is certainly worth the wait. Original writer David Leslie Johnson-McGoldrick returns with a story credit whilst David Coggeshall (The Haunting in Connecticut 2) handles the screenplay. Orphan: First Kill succeeds where so many horror sequels fail. It fully understands its place in the universe and its audiences’ expectations. Arriving fully armed means the film is fully prepared to once again whip the rug out from underneath us in camp, melodramatic fashion.
We enter the world of First Kill with Gwendolyn Collins’ art therapist Anna. If Collins looks familiar then you might have spied her playing Jean-Luc’s mother in season 2 of Star Trek: Picard. Collins is arriving for her first day of work at a mental health facility in Croatia. As she arrives, all hell breaks loose and the staff panic that a patient known as Leena is on the loose. Are you ready for your first reveal of the film? Leena is, of course, none other Fuhrman’s titular orphan in her first incarnation.
Leena, as it transpires, is a criminal mastermind. Her escape from the facility is as brutal as it is perfectly planned. Her determination is effortlessly communicated to the audience through Fuhrman’s physical performance. Director of photography Karim Hussain applies some excellent camera trickery – and the odd body double – to create the illusion that Fuhrman appears to be a young child. Given she masqueraded as a 9 year-old in 2009, it’s bonkers to think that now aged 25 she is playing a younger version of the character.
Leena’s devilish machinations leads her to taking on the identity of Esther. Esther is a missing American child, presumed abducted. Leena easily finds details of the missing girl online, assumes her identity and presents herself to the authorities before being reunited with Esther’s mother, Tricia Albright (Julia Stiles). At this point I forgive you for expecting to know where Orphan: First Kill will go from here. Director William Brent Bell and team lulls the audience in to a false sense of security that leaves you on the edge of your seat for the remainder of the brisk 99 minute runtime.
All is not what it seems with the Albright family which also includes husband Allen (Rossif Sutherland) and son Gunner (Matthew Finlan). In fact, Coggeshall’s screenplay quickly pivots to make “Esther” the fish-out-of-water. Though she was clever enough to take on the identity, without intimate knowledge of the family Leena instantly ring alarms bells with several characters. The narrative teeters on the verge of discovery. Will Leena/Esther be discovered and massacre her family? The question lingers through much of the second act, ramping up the tension particularly with Stile’s as the family matriarch.
First Kill does retread some of the steps of the first film. Esther lands herself with another wealthy family leading the narrative to take on the entitled. But once again the burgeoning franchise is simply lulling its audience into a false sense of security.
The third act is one that fans have to explore first-hand. To spoil the twists and turns would be cruel. But Orphan: First Kill absolutely sticks the landing as it exponentially drives up the crazy dial in readiness for a fiery finale.
Verdict
Nothing beats a horror movie that knows its audience’s expectations. Orphan: First Kill toys with us constantly, it’s high camp melodrama which is perfectly served by Isabelle Fuhrman’s excellent performance.
⭐⭐⭐
