Rating: R | Runtime: 123 minutes
Release Date: July 24th, 2009 (USA)
Studio: Warner Bros.
Director(s): Jaume Collet-Serra
Writer(s): David Leslie Johnson / Alex Mace (story)

Look at the snow orphan—snorphan?

Surprise, surprise. Orphan isn’t that bad. Who thought something that appeared like a bad rehash of The Omen could truly entertain? I guess the ability to acquire the services of a couple on the cusp of A-list status actors in Peter Sarsgaard and Vera Farmiga should have raised an eyebrow, but I honestly still had many reservations. In fact, I even knew the “twist” before sitting down in the theater—something I believe enhanced my enjoyment rather than lessened it.

Perhaps this knowledge made the proceedings more comical than hoped and took away from some of the horror aspects, but it also invested me in the tale to see how the revelation would be discovered. The acting is impressive across the board and the visuals are mostly enjoyable. I loved the opening sequence bridging reality and dream as well as the utilization of black light (cornily alluded to with the opening WB icon), but the many fake scares did start angering me a bit.

This isn’t the type of horror I enjoy normally. I tend to gravitate more towards the fantastical or supernatural. That said, I understand the gimmicks used and techniques relied upon. Director Jaume Collet-Serra wants to subvert preconceptions by giving us multiple instances of slow tracking shots towards a blind spot as music swells louder only to reveal … nothing. He’s attempting to get the audience off-balance, but it really just made me numb to the moments that did deliver scares.

So, rather than be affected by the jump scares, I was more entertained by the brutal violence utilized. Not many films of this ilk are R-rated these days, so it’s somewhat of a breath of fresh air when we get one. There are some definite pedophilic elements at play, very strong language (often used to comical effect), and the desire to make the few deaths on-screen as memorable as possible. I mean, come on. If you have a hammer and a prone body ready for a whack, why not do the deed and smash away a few extra times too?

I bought into the start due to Farmiga’s fantastic work. The devastation wrought on her face after a stillbirth is unavoidable. Here’s a mother of two who had so much love for her unborn child that she crawled into a shell of depression from the loss, needing an outlet for the pain and bottled up emotions she couldn’t shower on the baby. Her detachment from the family—especially her husband—is evident as well as the pure joy in finding young Esther at the orphanage with the hope of finally releasing that love.

Farmiga embodies the role so completely that (if I remember correctly) she instinctively signs “thank you” (her other daughter is deaf) when leaving the orphanage. The gesture isn’t necessary due to her hearing impaired child being at home, but it’s definitely something the character would unconsciously do. She’s also very good opposite Sarsgaard and his inability to stand by her when the truth about Esther begins unfolding. He does a good job, but is easily overshadowed by Farmiga’s choices.

Rounding out the cast are two brilliant turns from the youngsters. Aryana Engineer plays Max with professionalism and realism. Deaf in real life, she’s able to portray the fear and anxiety that comes with knowing her new sister’s capabilites. Unable to tell anyone due to her handicap and the threats on her family’s lives, she must lie and say everything is okay. Her subtle cowering in fright at the sight of Esther in her doorway is quite palpable nonetheless.

Speaking of Esther, you can’t deny twelve-year-old Isabelle Fuhrman’s performance. The most recent example of what parents are willing to allow their children to do for money (Sacha Baron Cohen’s Brüno would be proud), she’s effectively creepy and dangerous in her lack of moral compass and instinctual need to survive. More robotic and calculated at the start, she shines during the final act once her true identity is revealed. The malice and rage buried beneath an angelic façade is released. A master manipulator and seductress, Fuhrman will turn heads and should have a successful career.

Orphan calls to mind 80s slasher flicks like Child’s Play. So, it’s easy to recommend the film to those out for blood since the talent involved can’t be denied. The script can be generic at times, but surprise come through every once in awhile. With a “twist” that may not be too well hidden, the carnage nicely doesn’t stick to disposable roles. I’ll just say the stars aren’t safe from knife work or glimpses at their own mortality. It’s a good night out for bloody fun. When did that become a bad thing?

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(L-R) VERA FARMIGA as Kate and ISABELLE FUHRMAN as Esther in Dark Castle Entertainment’s horror thriller ORPHAN, a Warner Bros. Pictures release. Photo by Rafy.