‘Orphan’ Review

Orphan

“There’s nothing wrong with Esther that a few well-placed bullets couldn’t cure.”

There are some people that will tell you the secret of “Orphan,” which if you haven’t seen it is a shame because it deserves to be taken on its own terms.

And though the naysayers in some instances have raised valid points, it doesn’t change that, if you don’t see the twist coming, you’ll have a much better time.

In fact, that particular plot point is less irritating than the lead-up to the ending, when a cardinal rule of horror films (and plain old common sense) is broken.  Which is, if you are somehow able to subdue your attacker, you should either kill them (making sure that they’re dead, it goes without saying), tie them up or somehow imprison them, or the very least, disarm them).

None of the above rules are followed, which makes for a ending that – while satisfying – feels a bit forced because events should have unfolded differently.

Luckily the movie is strong enough to easily overcome a few (relatively) minor issues.

Another, depending upon how you think about such things, is director Jaume Collet-Serra tendency to use helicopter shots when they don’t seem to help the story or narrative (perhaps he was thinking that they contributed somehow to a sense of isolation, which I could see if we were talking about the Torrance family on the way to the Overlook Hotel.  Here, not so much).

Luckily, “Orphan” is strong enough to survive a few quirky camera stylings as well, which contributes to it probably being one of the scariest movies you’ve probably seen in quite awhile.

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