n 2009 Jaume Collet-Serra’s light-hearted creative thriller Orphan, an adopted Russian child wreaks havoc in a quiet American suburb. Grieving the recent loss of their daughter, wealthy couple John and Kate (Peter Sarsgaard, Vera Farmiga) shine before a nine-year-old girl named Esther (Isabelle Fuhrman), who dresses as orphan Annie but perfect manners, many talents. . After infiltrating the family unit, Esther turns out not to be a child but a 33-year-old Estonian psychopath with body traces upon waking.
Happy family, but Orphan not a masterpiece, and after modest business at the box office, it should have been. That’s not the case, though, because this prequel decided we needed to find out how Esther got to America in the first place.
Our story opens in Estonia in 2007, where the clouds are lower than a high-security asylum banned when a new art therapist comes to work.
She has just entered the building when the alarm goes off: one of the house’s most dangerous patients is in a loose state, a Leena (Fuhrman), a 30-year-old woman with a growth disorder, dwarf in proportion, looks like an angel child but is actually a fruit bat. The art teacher is locked in a room to protect herself when someone will emerge from the shadows but Leena, sitting in the corner innocently paints, or so it seems.
Touching art teacher. “Imagine going through your entire life with the world seeing only one child,” she said, not realizing that the illusion could have its benefits.
At night, Leena watches old Shirley Temple movies to perfect the little girl who has lost her habit, and soon she escapes from the refugee camp, kills the art teacher and takes over her apartment, where she wraps Bordeaux and plays Rachmaninov on the piano as she wanders. The internet is for missing children whose identity she can steal.
Then she came across the case of Esther Albright, an American girl from a wealthy family who mysteriously disappeared four years ago at the age of 6. So Leena turned herself in to the authorities, called herself Esther, and waited for a happy reunion. The question is, will she be able to convince the Albrights that she is really their missing daughter?
She is brought to America, and while Allen Albright (Rossif Sutherland) accepts her as his child without a doubt, his wife, Tricia (Julia Stiles) is more deliberate, and begins to notice things. Curious contradictions in Esther’s story. For example, the girl’s ability to draw: Esther had no interest in art four years ago, now she is a frontier genius; where did that Baltic accent come from; And why is she so good at playing the piano?
Allen, an artist, attaches himself to the girl and takes her to his studio to show her how he paints. He was unaware that ‘Esther’ would smoke fake cigarettes if she had any involvement, and developed feelings for him. Tricia, meanwhile, joins a psychologist, and doesn’t push: “this family came to the Mayflower,” she said at one point, “we matter.” The stage is set for a confrontation.
Isabelle Fuhrman was only 12 years old when the original film was made, and she’s 25 now, which makes the action-girl a little harder to swallow. However, I don’t mind it, not once did I make the mistake of taking this nonsense seriously. Fuhrman is good at playing Leena/Esther, who has a sweet smile one moment and is strangling the pet the next.
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Nice to see that Julia Stiles was also given some space to maneuver, and there were kinks in Orphan: First Kill which I, for one, didn’t see coming.
It’s not an original film, but neither is its predecessor – both borrow heavily from J horror and children’s horror films like Omen. Kill first there’s a sort of sense of humour, though it’s a bit sadder than the original and kudos to the rodent nemesis, who plays a small role with big convictions.
Do we need Kill first? Indeed, we were not, but had a funny, Guignol camp, forgettable and mindless.
Rating: Three stars
Anaïs in love
(No Cert, IFI, 98 minutes)
There’s a playful fluidity in Charline Bourgeois-Tacquet’s comic drama, in a breath-taking opening that introduces us to Anais (Anaïs Demoustier). A graduate literature student who is dodging the baby death embodied in her final thesis, Anaïs is an impulsive, self-obsessed woman who is undeniably a charming child yearning for experience. experience.
Tired of her whiny boyfriend, she befriends Daniel (Denis Podalydés), a married publisher twice her age. For a while, this tester intrigued her, until she came across Daniel’s wife.
Emilie (Valeria Bruni-Tedeschi) is a famous, poised and beautiful author who always seems to maintain a certain distance from her mate. Intrigued, Anaïs drops everything and goes to Brittany, where Emilie is speaking at a literary festival. Intentionally, the two women fell in love.
Demoustier is brilliant as Anaïs, a willful goofy girl with all the reckless recklessness of youth. Emilie is wiser, and knows that love will inevitably let you down. There are moments of high antics in Anaïs in lovebut beneath its slick surface lurks melancholy currents.
Rating: Four stars
My old school
(No Cert, IFI, 115 minutes)
An eerie and fascinating documentary premiered here during the Dublin Film Festival, My old school investigating a strange scandal became a major news story in 1995.
Through Alan Cumming’s real-life voice and superb lip-syncing abilities, we meet Brandon Lee, who in 1993 showed up at Bearsden Academy, Glasgow for fifth grade. He grew up in Canada, his opera mother recently passed away and he now lives nearby.
Other students, interviewed for the film, recall there was something slightly different about Brandon. “He had old skin,” one of his schoolmates recalls. However, his good nature and multi-talented soon make him a popular student who seems bound by big things until a strange secret stumbles across:
‘Brandon’ is actually Brian MacKinnon, a 32-year-old former student of the school.
Using animation to bring to life 1990s classroom life, My old school paints a vivid picture of a remarkable story. Its director, Jono McLeod, was one of McKinnon’s classmates, which probably explains why it’s so easy on its slippery subject matter.
Rating: Four stars
https://www.independent.ie/entertainment/movies/movie-reviews/orphan-first-kill-movie-review-horror-prequel-may-be-daft-but-at-least-it-has-a-sense-of-humour-41921465.html Orphan: First Kill movie review – horror prequel can be a bit confusing but at least it has a sense of humor