The Orphan Killer 2011 Review
The Orphan Killer 2011
Directed by: Matt Farnsworth
Starring: Diane Foster, David Backus, Edward Winrow
Review by Luis Joaquín González
The IMDB is such a fantastic tool for checking out big budget movies. Before going to the cinema or buying a DVD, it’s always worth looking at the ranking that a studio flick has acquired. If it’s above an 8, you’re generally in for an out and out classic, whilst anything from 6.5 will certainly be worth investing two-hours of your life with. Where the site really has issues is when it comes to stalk and slash pictures. Whilst Halloween sits accurately at 7.9, Friday the 13th Part II has a measly 6. It’s even worse when you start to look at low budget entries, and that’s where I found a problem with The Orphan Killer.
After watching the film, I checked to see what others had been saying about it and I found five reviews in a row that had given it 1/10, the lowest ranking that the IMDB offers. There were also a few comments, including the classic, ‘Just when you think you’ve seen the worst movie in the world, you stumble upon this piece of trash.‘ Really? We live in an age where there are features available that have been shot and edited on an iPad, but if you listen to the users on the IMDB, this is poorer than any of them. Without blowing my own trumpet too much, I have to underline the necessity of a site like a SLASH above, where authors like my good self make the effort to analyse these films in detail to give you the best possible heads-up.
Two young children that survived the brutal murder of their parents in a botched robbery attempt are transferred to a catholic orphanage and put up for adoption. Upon arrival, Audrey manages to settle in quickly and make friends with the other kids, but her brother Marcus has a much tougher time and displays bouts of vicious violence that lead to aggressive punishment from his superiors. It doesn’t take long for Audrey to find a home with a loving family, but Marcus is left behind to suffer abuse from the over-zealous priest. Years later, Marcus escapes his confines and returns to the church to hunt out the sibling that he feels abandoned him.
As someone who was collecting slasher VHS during the late eighties, I remember the buzz of hunting out the full version of a gore film. Back then, due to censorship issues, it was a challenge to uncover an uncut copy from foreign (usually Dutch) shores and a real treat when you finally did. The likes of Absurd or Mil Gritos Tiene La Noche were never known for their intriguing plots or great acting, but they certainly delivered on the red stuff, which gave them a unique standing. In more recent times, we have much more leniency in what gets through on DVD or Blue Ray and it means that viewers don’t only demand gruesome effects; they want everything else to boot. If The Orphan Killer had been released in 1981, it would have become one of those cult classics that horror fans spent an eternity searching for. Nowadays though it’s a fossil from a bygone era and gratuitous bloodletting alone doesn’t have the same underground appeal.
Whilst it’s hard for me to say whether my recollections of those times have swayed my opinion, I found quite a lot to appreciate about The Orphan Killer. I am writing this review the morning after the 2015 Oscars and Alejandro González Inarritu’s wonderfully kooky Birdman picked up Best Picture. It was filmed using lengthy tracking sequences that were so cleverly cut that the film looked like one continuous shot from start to finish. Director Matt Farnsworth (on a much smaller scale of course) utilises the completely opposite approach here, but also creates some intriguing visuals that brought to mind early Aronofsky. I counted 8 cuts in a thirty-second scene at one point; and each came from a camera placed in a creative location that was rarely static. It’s almost as if Farnsworth entered a room and spent hours defining all the possible areas that he could shoot from before deciding how he could apply movement to keep the momentum running. During the mid-section, there’s a marathon of stalk and slash action that includes so many camera switches and angles that I literally lost count of them. A great example of this can be found in the murder of the unfortunate nun that I have posted above.
Orphan is a splatter flick at heart and the gore is exceptional considering the stringent funding. Heads are crushed, squashed, smashed and in one really gruesome scene, split in two by a machete. I recall numerous moments that made me flinch away due to the level of grotesque imagery, and this is a picture that revels in the suffering of its players. Marcus Miller is a terrifyingly ruthless antagonist and he stalks with an obvious menace that brings to mind the iconic bogeymen of yesteryear. Unlike many of his kin, Marcus taunts his victims with verbal threats that add to his intimidation and the backstory works to help build his psychopathic aura. David Backus does a superb job of bringing the killer to life and he fills the role with power, strength and maniacal intent.
Even if I have highlighted that gore films are never huge on character development, it is clearly visible how the lack of any at all has left Orphan looking extremely hollow. It’s rare that you’ll see a cast list with so many anonymous credits such as ‘Skateboarder’ or ‘Urban Legend Teen #2’ and the people featured within are given less importance than the props the killer uses to dispatch them. It makes such a difference to have players that we’ve invested in emotionally, but even the heroine failed to win us over in this script. This leaves the film without a solid structure and it plays almost like a collection of kill scenes that have been loosely stapled together. I’m not a fan of death metal and I look at horror as a genre that succeeds when audio and visual are juxtaposed together to bring an environment to life. More often than not I found myself reaching for the ear plugs and the film could have done with a suitably creepy score.
Once Marcus has finally caught and imprisoned Audrey, we get some slower paced torture porn-like scenes that are a lot less engrossing. A directorial style as rapid as Farnsworth’s didn’t flow as well in an enclosed environment and the best pieces of his work came during the numerous chase sequences. In terms of dramatics, the performances were weak but serviceable and kudos to Diane Foster, who gives her all in a portrayal that asked an incredible amount of physicality. The insane killer stalking his sister synopsis has been done to death, but Orphan manages to keep you interested, despite the numerous flaws.
Matt Farnsworth has worked really hard here to give us a film that pushes the boundaries of what we have experienced previously. It infuriates me that all this effort can be brushed off by a 1/10 rating without recognition of all that he has achieved. It’s ok to dislike a film, but it’s a waste of time to read any write-up that contains something along the lines of ‘this is the worst movie ever made’. You’ll have to trust me when I tell you that it simply is not…
Killer Guise: √√√√
Final Girl: √√