Orphan: First Kill

Its creators understood that the job demands clearing a high bar for crazy, which inspires a go-for-broke pulp energy that’s appealingly ragged.

Orphan: First Kill would not pass logical examination by a reasonably sentient teenager, but it has fun with its materials and does not lose sight of its one governing idea -- that every family is weird in its own peculiar way.

While there is a fair bit of blood left on the walls, floor and elsewhere, this is more of a psychological thriller than a slasher flick, and is far the better for it.

This sinister sequel can't compare to its older sister flick, but it's not without its own ghoulish goodies.

Julia Stiles really goes for broke as the mother in this movie, which I really appreciate.

The pleasure of watching Esther out of her league is its own satisfaction, even given the dullness otherwise -- and even given the promise that some mistakes are bound to be repeated.

Credit the screenplay for staying a step ahead of us and not being too predictable; ding the director for not delivering a single memorable kill.

Because of poor creative choices and dull direction, Orphan: First Kill is a misfire of a prequel that recycles the same tropes and masks it with a few surprising plot twists.

The new twist is glorious, utterly wrong-footing both its audience and Esther and the melodrama that plays out is positively Gothic in its unashamed high-camp absurdity.

Orphan: First Kill falls into the same overworked template that claims so many horror prequels. It’s working to a conclusion that’s out in the wide open and it fails to do much more than remind you of something you already enjoyed.