Orphan: First Kill (2022)
This is such a strange movie. The original Orphan, released in 2009, was an otherwise forgettable killer kid movie with a memorable twist: little Esther (Isabelle Furhman) wasn’t a child but a 30-something woman with a hormonal disorder (supposedly inspired by a true story). What do you do with a prequel when the young actress is now a grown woman and the audience knows the big twist from the start? The first answer is use a body double, have the other actors wear platform shoes or step on boxes, and forced perspective with some de-aging CGI sprinkled over Furhman’s adult face. That’s a whole lot of effort, albeit practical and less costly, to make a prequel without much going on. We follow young Leena as she escapes from an Estonian mental asylum and poses as a missing child from an American couple (Julia Stiles, Rossif Sutherland) who adopt her and bring her back to the States. It’s here where little “Esther” must keep up the illusion, with the mother already gathering her suspicion but not wanting to trouble her husband. For the first hour of this 100-minute movie, I was quite bored and the movie was relatively listless. There were some kills but it all felt like simply going through the motions, especially already knowing her secret and not being emotionally invested in whether her new identity would be maintained. And then the movie makes a sudden turn, one I’ll spoil right now because I think it makes the film actually watchable, where the mother confesses she knows Esther is not her missing daughter, is an adult woman, and then both of the women in this dysfunctional nuclear family are trying to undermine and kill one another while vying for the favor of the father/husband. It took an hour of sequel/prequel drift, but here First Kill (there are many after her first) finally delivers something new to do after sitting for an hour rehashing the original twist. I wish the screenplay had gotten here even earlier and veered into wicked black comedy. It definitely feels like the movie wants you to laugh at the escalating battle between fake daughter and fake mother. I laughed out loud over a scene with slippery dentures. There’s no real reason for this movie in 2022, especially with all the extra work to make it plausible, but I wish the filmmakers had just embraced all its goofy implausibility.
Nate’s Grade: C