Isabelle Fuhrman’s return to the role of Esther is full of curveballs and whiplashes of horror fun. In my first Orphan review, I asked if anybody had asked for this film to happen. Was it worth it? Did this movie need to be made? Yes. Emphatically, yes. I had a lot of preconceived notions and thoughts about how this movie would be a snooze-worthy rehash of Jaume Collet-Seura’s work. Still, I am happy to eat my humble pie and say that entering the third act of this film, I was COMPLETELY and UTTERLY incorrect. This movie has a rough start, but it is very, VERY good, and has a twist I didn’t see coming at all.
My spoiler-free review: it’s unreasonably good for a sequel to a 13-year-old movie; not perfect, but pretty great if you’re not looking for straight-laced, hair-raising horror. If you liked the first one a lot, you’ll probably like this. Don’t watch this if you haven’t seen the first because it will kill everything fun about the original. Alright, everybody cleared out? Good, onto the
SPOILERS AHEAD
Yes, once again, it’s the classic story of a young girl who is a grown woman with dwarfism, turned con artist, turned serial killer. Tale as old as time, I know. But that tale is being told with a fun spin on it.
In the directing chair this time is William Brent Bell, director for both of The Boy movies. Honestly, his directing isn’t anything to write home about, with its occasionally poorly composed shots and focus issues. Still, it does serve to fulfill the illusion they’re trying to pull off by making the 5’3 Fuhrman look a foot shorter (even if there are some funny shots meant to show off “Hey, she makes a convincing kid, right? We did good, huh?”).
There’s some wonky editing at points, like with the simulated one take early on, but it works all in all. Cinematographer Karim Hussain of Possessor fame makes some pretty good lighting choices, especially with Esther’s first meeting with an art therapist at the asylum she’s locked up in; I can appreciate the novel use of some flashing red emergency lights giving you glimpses of the tiny terror.
And when it comes to selling the illusion, we must address the makeup and costuming, as Doug Morrow and the rest of the makeup unit’s work is stellar in creating a charming, practical look for Fuhrman. While it’s occasionally funny looking, I prefer it to any clunky attempts to digitally de-age Fuhrman that would have been employed by a lesser crew.
Regarding the structure of the film, the intro sequence is pretty good since it drops any pretense of us not knowing about the first film, but that welcome wears out. The first half of the movie is regrettably where it feels much more like a retread of the 2009 film than its own entity. Do not, I repeat, DO NOT let that drive you away searching for a new movie to watch; it’s just something I must warn you about. This all changes around the 50-minute mark.
In a returning performance, Isabelle Fuhrman isn’t as genuinely frightening as she was in the original. Still, I think that has a lot to do with the plot structure less than her ability to be scary. Esther, as a threat feels a little sillier this time around as a villain you love-to-hate, and angles on her as a sociopath con man who happens to have killing as a side hustle. She’s very mustache twirly when no one is around, with a full suiting up montage to her own piano music, and it’s very fun.
As far as the other performers go, the highlight is Julia Stiles, who at first seems like she’s treating this with a much more serious performance than it deserves, with Tricia mirroring Farmiga’s grounded character from the first film and sounding dire and dour all the time…
But then the whole world of this film goes batshit insane.
The bold choice to turn her from a protagonist to a deuteragonist who is just as mean-spirited and evil as Esther made me love this movie and flip from mildly bored to thoroughly entertained. Matthew Finlan’s Gunnar as her conspirator isn’t anything special with clunky line deliveries and dialogue, but his demise is especially enjoyable.
As far as the other performances go, Esther’s newfound father, Allen is flat feeling against the exceptional Tricia, but he’s doing the best he can with the crumbs he’s allotted. The character of Detective Donnan is kind of just a lurking cop gargoyle with a preternatural amount of insight on Esther being evil. Still, he makes the perfect red herring as Esther’s would-be nemesis in the little dose we get of him.
I wouldn’t mind seeing this become a low-budget yearly franchise, just going through the families she terrorized on her way through America. You know, before eventually getting kicked into a frozen lake.
BOTTOMLINE: The film doesn’t just avoid the pitfall of being a safe, predictable sequel; it does a triple backflip over the pit for extra style and doesn’t overstay its welcome. This is a solid “must-watch” addition to your docket of movies for this weekend.