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Orphan: First Kill

Orphan: First Kill

Horror · Thriller · 2022

After escaping from an Estonian psychiatric facility, Leena Klammer travels to America by impersonating Esther, the missing daughter of a wealthy family. But when her mask starts to slip, she is put against a mother who will protect her family from the murderous “child” at any cost.

Movie details

Orphan: First Kill

“There's always been something wrong with Esther.”

2022 Horror · Thriller 1h 39m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

After escaping from an Estonian psychiatric facility, Leena Klammer travels to America by impersonating Esther, the missing daughter of a wealthy family. But when her mask starts to slip, she is put against a mother who will protect her family from the murderous “child” at any cost.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Orphan: First Kill?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

William Brent Bell

Written by

Alex Mace · David Leslie Johnson-McGoldrick · David Coggeshall

Isabelle Fuhrman

Isabelle Fuhrman

Leena Klammer / Esther Albright

Matthew Finlan

Matthew Finlan

Gunnar Albright

Julia Stiles

Julia Stiles

Tricia Albright

Rossif Sutherland

Rossif Sutherland

Allen Albright

Hiro Kanagawa

Hiro Kanagawa

Detective Donnan

Samantha Walkes

Samantha Walkes

Dr. Segar

David Lawrence Brown

David Lawrence Brown

Dr. Novotny

Court is in session

Put Orphan: First Kill on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Big-Idea Head

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Sentimental Softie

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.