Orphan: First Kill (2022) review: that rare horror prequel that measures up

Jaume Collet-Serra’s Orphan back in 2009 came with absolutely no expectations, an evil/killer child horror that looked to be a fun night at the movies. However since it arrived and ever since, in spite of some mixed reviews, the film has gone on to win over a growing audience. Not simply because of an effective film, but thanks to one all mighty memorable twist and Isabelle Fuhrman’s fantastic performance as “9 year-old” tiny terror Esther, both of which immediately left a lasting impression. But 13 years on, and with the same – now 25 year-old – actor back, surely this prequel Orphan: First Kill can’t recapture that lightening, after all the cat is out of the bag now, so what’s left? Well, don’t be too hasty…

After escaping the facility that held her in Estonia, “Esther” (Fuhrman) impersonates a missing child in an attempt to head to America, and live with this family. But trouble cannot help but follow her, and soon her beginnings are revealed.

I’m being naturally a bit vague not just for the sake of those of you who have not witnessed the first film’s story but for the sake of those who have yet to witness this prequel! Orphan: First Kill is in many ways the perfect accompaniment to the first film. Not only is it a most pleasant surprise (in fact it might be the year’s biggest surprise) and a great horror prequel (not an easy task), but – like the first film – it is blessed with a plot twist which absolutely transforms the movie. 

The less you know going in the better but needless to say, while this The Imposter-esque story was already working fine as a prelude to Esther’s murderous origin, this film subverts the standard evil child genre tropes once again and the equally shocking twist morphs the film for the better, not only turning conventions upside down but adding great depths to Esther as a character, and leaving us with some timely themes to digest, themes of politics, social class and attitudes of the wealthy.

Of course it is mad. Sometimes really mad. Sometimes really, really mad. Yet, no matter what happens, you go with every wild and every gruesome turn because of how director William Brent Bell leans into it all so gloriously, how screenwriter David Coggeshall embraces David Leslie Johnson-McGoldrick and Alex Mace’s story to its full extent and beyond, and how everyone is just having fun with the concept.

Isabelle Fuhrman’s return to the role is a resounding success, not only thanks to the work of old school movie magic (make-up, platform shoes, long shots, doubles, etc) but Fuhrman’s committed and compelling performance. She is fantastic, and bounces off and collides with her game co-stars (Julia Stiles and Rossif Sutherland are especially good), as all of them together create a thrilling, bonkers, even self aware and occasionally camp film, which beautifully adds to the story we know, with more that we don’t. Esther’s place in the horror icons Hall Of Fame was already etched but is now surely certain. 

Nobody could have expected a film this entertaining but my word it is. And it is a worthwhile companion to the original.