’Orphan: First Kill’ review: Dir. William Brent Bell (2022)

Isabelle Fuhrman returns to the character that made her a name on the horror circuit as she reprises her role of Esther in Orphan: First Kill. Orphan, released in 2009, took horror fans by surprise with its incredibly unique plot reveal. The discovery that the child on screen was actually a woman in her thirties, suffering from a syndrome that stopped her body maturing at the usual rate, made the blood run cold. The part was made by Fuhrman, the actor giving a fantastically chilling performance even though she was only ten at the time. With such a strong fanbase for Orphan, many hoped for a continuation, but given that Fuhrman has grown-up, most thought it impossible. 

Now, not only is there a new film centred around Esher, it’s also a prequel. This obviously means that Ester can’t appear to have aged, and against all odds, that is exactly what director William Brent Bell and his team have achieved. In recent years, audiences have become accustomed to actors appearing younger on screen. Both Marvel and Martin Scorsese have used digital de-aging techniques to take years off of their cast; however, Orphan: First Kill didn’t have the budget for such technology. Instead the illusion is created through the use of clever camera shots, stand ins, and make-up. The result is uncanny; Fuhrman looks almost identical to her first outing as Esther. 

Esther may look the same, but the story doesn’t remain so. Horror sequels and prequels are notorious for simply repeating what worked the first time. Here, thought has been put into switching things up. Set in 2007, the film opens in the Saarne Institute, an Estonian psychiatric facility in which Leena has been living. After staging a bloody escape, one which demonstrates the depth of her powers of manipulation and calculation, Leena poses as missing child Esther Albright. Her family races to collect her, but once home, problems immediately arise. This time though, Esther may have gotten herself in over her head as her new family is hiding some secrets of their own. 

Beating that twist of Orphan is a tough task, and thankfully Brent Bell doesn’t try to match it. Whilst this new film doesn’t try to replicate anything on the same scale, there is still the occasional shocking moment. Some story beats remain the same, others twisted and distorted, taking the viewer down a different path. Following in Vera Farmiga’s footsteps as martirach of the family, Esther is joined by Julia Stiles who is an excellent addition to the series. Scenes between her and Fuhrman are some of the best in the film. The mistrust this time around isn’t born of fear, but rather guilt, Stiles’ Tricia is desperate to bridge the gap formed during Esther’s missing years. Rossif Sutherland plays Allen, the missing Esther’s father. Audiences are familiar with Leena’s daddy issues, and Orphan: First Kill does not disappoint on that front. 

As well-placed as the new additions are, Orphan: First Kill of course belongs to Isabelle Fuhrman who is exceptional as Esther / Leena. The visual likeness to her younger self may be cheated, but the performance isn’t. It may have been over ten years since she last doned the pigtails yet Fuhrman slips seamlessly back into the character’s skin. Her performance is devious and chilling, and exactly what fans have been baying for. 

Deceptively wicked and deeply twisted, Orphan: First Kill builds into the story of the original effortlessly. Equally strong, this is one prequel that hits the mark, thanks in no small part to the hard work of the team in their creation of the illusion of de-aging Fuhrman. With enough new elements to keep things fresh without jettisoning what worked so well last time around, Orphan: First Kill is a thrilling and chilling entry that confirms that Esther is back to slay.  

Orphan: First Kill arrives in UK cinemas from 19th August 2022.