Regie:
Jaume Collet-SerraDrehbuch:
David Leslie Johnson-McGoldrickKamera:
Jeff CutterMusik:
John OttmanBesetzung:
Isabelle Fuhrman, Vera Farmiga, Peter Sarsgaard, Karel Roden, Aryana Engineer, CCH Pounder, Jimmy Bennett, Margo Martindale, Rosemary Dunsmore (mehr)Streaming (3)
Inhalte(1)
Kate Coleman macht sich schwere Vorwürfe: Durch ihr Alkoholproblem hatte sie eine Fehlgeburt und verursachte einen Verkehrsunfall, bei dem beinahe sie und ihre Tochter Max starben. Nun will Kate neu anfangen. Mit ihrem Mann John adoptiert sie die kleine Esther, eine ungewöhnlich kluge und kreative Neunjährige. Die Waise lebt sich schnell bei den Colemans ein – nur Kates Sohn Daniel ahnt sofort: In Esther schlummert etwas Unheimliches. Bald häufen sich merkwürdige Ereignisse… (Puls4)
(mehr)Kritiken (11)
Möchtet ihr ein Kind adoptieren? Dann schaut euch zuerst diesen beunruhigenden Thriller Orphan an, in dem sympathische Eltern ein kleines Mädchen adoptieren. Aus dem niedlichen Mädchen wird jedoch langsam eine berechnende Schlampe, ein Biest, das nicht davor zurückschreckt, seine nächsten Angehörigen zu töten. Ein großartig inszeniertes psychologisches Spiel, bei dem die schauspielerischen Leistungen der Erwachsenen genauso wichtig sind wie die der Kinder. Glaubwürdige Charaktere aller Beteiligten (auch Roden glänzt in kurzen 2 Minuten) verstärken das intensive Erlebnis, das vor allem in den letzten 30 Minuten zunimmt und anschwillt. Das Ende hat mich in kleine Stücke zerrissen, wirklich beeindruckend! In letzter Zeit haben es die kindlichen Killer echt drauf! Ich bin also überaus zufrieden mit Orphan, Serra hat überrascht.
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Ein im Grunde genommen beeindruckender, aber ab und zu an den Haaren (Härchen?) herbeigezogener geheimnisvoller Film, der meiner Meinung nach ein noch schlimmeres Ende verdient hätte. Vor allem das Verhalten der Eltern (bzw. des Vaters), der Psychologin und der Schwester aus dem Waisenhaus schien mir an den Haaren herbeigezogen zu sein. Glaubhaft war eigentlich nur die Mutter. Die Schauspielleistungen der zwei Hauptdarstellerinnen sind aber sehr gut. Das gilt auch für die Regie sowie Ottmans verlässliche Musik. Ich habe fast nicht gemerkt, dass der Film zwei Stunden gedauert hat, was definitiv auch ein Pluspunkt ist.
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Orphan - Das Waisenkind ist ein sehr guter Film, der seinem Genre, dem Thriller, sicherlich keine Schande macht. Zu Beginn ist es eine Art Einführung in die Charaktere, die sich durch eine schrittweise Handlung zu einer schockierenden Auflösung entwickelt. Irgendetwas stimmt mit Esther nicht, und es überrascht mich überhaupt nicht, dass die Hauptantagonistin wie das "gute Mädchen" aus Fall 39 aussieht. Es ist nur schade, dass ich aufgrund bestimmter Umstände die Pointe schon kannte, bevor ich den Film sehen konnte, und daher allen Hinweisen gefolgt bin, die zu dem überraschenden Ende führten. Kurzum, ein überdurchschnittlicher Film, der technisch, schauspielerisch (Vera Farmiga, Isabelle Fuhrman) und vom Drehbuch her überzeugt.
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My goodness, that was quite nerve-wrecking! And it starts so easygoing (if we don’t count the first scene, that is), an idyll with smart little Esther and her likeable parents and siblings; I almost didn’t want to believe anything could go wrong. And it does! In the course of half an hour, Esther turns from a cute girl into the kind of bitch you want to murder with a pickaxe between the eyes, and the psycho-terror begins. Among other things, I liked how the film builds tension – there are several times when the director gives the impression that there’s a about to be jump-scare, a chilling scene or a twist, but he rarely delivers them, which does great service to keeping and increasing the attention of the viewer. For someone like Jaume Collet-Serra, who’s made the average House of Wax, this kind of mature psychological horror is a massive surprise and a great promise for the future.
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Jaume Collet-Serra, the loser responsible for the desperately routine House of Wax, is supposed to coach the evil kid, one of those who are now (theoretically) supposed to be popular? I have no idea if he’s been talked out of it since then, or kept sedated in Hollywood, but please keep on making films just like this in the future! Considering the subject matter, the film goes quite outside the established horror practices of recent years, and so we get to watch two hours of PRECISE psychological games that confirm the holy truth that horror is all about the characters. It takes courage today to make the viewer tense by having characters more or less just having a dialogue with each other, but if it gets a little rough every now and then, the scriptwriter is supported by perfect actors. The adults are flawless, and the kids too, but twelve-year-old Isabelle Fuhrman gives me the chills (although according to the photos on IMDb, she’s actually a cute girl). It’s too bad that in the end, Serra didn't have the balls to get rid of the traditional genre vice, the clichéd ending. Whether or not DiCaprio and Silver were properly aware of what they were putting out into the world, I say again: just like this!
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Such a good idea for a punchline certainly deserves better than this family (non)idyll with a stupidly behaving herd of adults and zero atmosphere. Or if not better, in any case shorter. While the first hour still works great, it gradually starts limping during the last half hour from one dumb cliché to another, in the last ten minutes becoming a parody of all of the worst genre clichés known to man. An unintentional parody, I should add. P.S.: It’s crying out for a Czech remake, we even have a perfect main protagonist (!SPOILER!) already.
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A reasonably good thriller with a thickened atmosphere – you can slowly see the rising of the heaviness, the dark atmosphere and despair. Of course, I enjoyed the film the most from about the time the two desperate parents meet Esther to the moment this sweetheart gets slapped in the hospital. Other than that, I wasn't really entertained; that’s right, I didn't care for the final "fight". Anyway, I rate it positively because it has a certain atmosphere. Don't expect anything supernatural, though, just a proper freak-out.
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I do not deny the craftsmanship of Orphan, as it is a well-cast, acted, and directed horror thriller, but which unfortunately is also unbearably predictable, clichéd, and characterized by the behavior of the characters that indicates at least a complete loss of self-preservation instinct, but more so premature dementia. I don't like movies where I am constantly two steps ahead of the director. A thriller should create tension, while a horror should provoke fear. Neither of these happened, and this film simply did not work for me. Overall impression: 25%.
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I certainly wouldn’t show the brutal beginning to expecting mothers, it was even a bit much for me, but otherwise a superb genre movie. In fact, I even considered giving it a five, but I didn’t find one of the twists at the end convincing (on the other hand it did mean that the always superb Karel Roden made an appearance). But in my opinion... the hammer hit the nail right on the head. :)
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Distinctive, atmospheric, surprising. Orphan rides the first two acts in a well-trodden path, only to turn into an uncompromising knockout for all those who dared to doubt its potential. A bit simple and naive, but an excellently acted, psychologically refined and spooky fable about a cute little girl's nose, which has something to offer even after repeated screenings thanks to its brilliant direction... 80%
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Brilliant, distinctive, in some ways unadorned, and excellently escalated. I look at most of today's psychothrillers/horror films with significant removal, because almost none of them lack sexy female protagonists (future victims), who of course impress with their visual merits, especially in the moments when they stagger in front of the camera in their underwear – usually full of despair and drenched in blood. Orphan works with the concept of culminating terror (both physical and psychological) and is extremely impressive, in some ways even truly chilling atmosphere. The playground scene with the slide is a demonically refined display of creative potential, which (world of wonders!) the director of House of Wax exploits to the hilt. Several (certainly more than three) memorable scenes push this film to the top of the genre in the final reckoning, and I really have to say that it’s been some time since I saw a similarly honest film built primarily on suspense and the viewer's necessary concern for the main characters.
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