Orphan: | First Kill 2022

Despite its silly and "wild" script, the film maintains a high technical standard that anchors its more outrageous moments.

: Isabelle Fuhrman returns with a "calm, cool, and collected" performance that recaptures the character's menace while heightening the absurdity of a grown woman masquerading as a child. The Mid-Point Subversion Orphan: First Kill 2022

: Reviewers have noted the "appropriately atmospheric and spooky" lighting and cinematography, which help the family home feel like its own character. Despite its silly and "wild" script, the film

The 2022 prequel Orphan: First Kill succeeds by embracing a "schlocky goodness" that its earnest 2009 predecessor lacked, transforming what could have been a repetitive retread into a campy, self-aware horror delight. Directed by William Brent Bell, the film manages the difficult task of bringing back Isabelle Fuhrman as the titular Esther—despite her having aged 13 years since the original—while leaning into a narrative twist that completely shifts the power dynamic of the franchise. The 2022 prequel Orphan: First Kill succeeds by

: The musical choices, particularly the use of Jimmy Durante’s "The Glory of Love," add a layer of ironic charm to the violence.

Despite its silly and "wild" script, the film maintains a high technical standard that anchors its more outrageous moments.

: Isabelle Fuhrman returns with a "calm, cool, and collected" performance that recaptures the character's menace while heightening the absurdity of a grown woman masquerading as a child. The Mid-Point Subversion

: Reviewers have noted the "appropriately atmospheric and spooky" lighting and cinematography, which help the family home feel like its own character.

The 2022 prequel Orphan: First Kill succeeds by embracing a "schlocky goodness" that its earnest 2009 predecessor lacked, transforming what could have been a repetitive retread into a campy, self-aware horror delight. Directed by William Brent Bell, the film manages the difficult task of bringing back Isabelle Fuhrman as the titular Esther—despite her having aged 13 years since the original—while leaning into a narrative twist that completely shifts the power dynamic of the franchise.

: The musical choices, particularly the use of Jimmy Durante’s "The Glory of Love," add a layer of ironic charm to the violence.