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Where the Crawdads Sing

A woman who raised herself in the marshes of the Deep South becomes a suspect in the murder of a man with whom she was once involved. A woman who raised herself in the marshes of the Deep South becomes a suspect in the murder of a man with whom she was once involved. A woman who raised herself in the marshes of the Deep South becomes a suspect in the murder of a man with whom she was once involved.

Olivia Newman
Delia Owens
Lucy Alibar
Daisy Edgar-Jones
Taylor John Smith
Harris Dickinson
710 User reviews
191 Critic reviews
43 Metascore
2 wins & 13 nominations

Tate Walker

Chase Andrews

Jumpin'

Jodie Clark

Sheriff Jackson

Little Tate

Little Chase

Little Jodie

Deputy Perdue

Eric Chastain
All cast & crew
Production, box office & more at IMDbPro

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Did you know

Trivia Delia Owens : The author of the novel is seen in the courtroom sitting on the front row behind Tom when Patti is testifying about Chase's shell necklace.
Goofs All the of the addresses of publishers Tate gives to Kya have ZIP codes. He gave her the list in 1962; the first ZIP codes were established on July 1, 1963 and were not in common use until the late 1960s/early 1970s.

Tom Milton : Listen. I know you have a world of reasons to hate these people...

Kya Clark : No, I never hated them. They hated me. They laughed at me. They left me. They harassed me. They attacked me. You want me to beg for my life? I don't have it in me. I won't. I will not offer myself up. They can make their decision. But they're not deciding anything about me. It's them. They're judging themselves.

Crazy credits Kya's drawings appear alongside the credits.
Connections Featured in Everything Wrong with...: Everything Wrong With Where The Crawdads Sing in 18 Minutes or Less (2023)
Soundtracks Ain't It Baby Written by Kenny Gamble and Jimmy Bishop Performed by Kenny Gamble & The Romeos Courtesy of Jamie Record Co.

User reviews 710

Sep 5, 2022

Everything New on Hulu in May

How long is Where the Crawdads Sing? Powered by Alexa
July 15, 2022 (United States)
United States
Official site (Japan)
Official Sony Pictures
Xa Ngoài Kia Nơi Loài Tôm Hát
Houma, Terrebonne Parish, Louisiana, USA (street scenes)
3000 Pictures
Hello Sunshine
See more company credits at IMDbPro
$24,000,000 (estimated)
$90,230,760
$17,253,227
Jul 17, 2022
$144,353,965

Technical specs

Runtime 2 hours 5 minutes

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‘Where the Crawdads Sing’ Review: The Bestselling Novel Turned Into a Compelling Wild-Child Tale

Daisy Edgar-Jones plays Kya, the venerable Marsh Girl, in a mystery as dark as it is romantic.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

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Sometimes a movie will turn softer than you thought it would — more sunny and upbeat and romantic, with a happier ending. Then there’s the kind of movie that turns darker than you expect, with an ominous undertow and an ending that kicks you in the shins. “ Where the Crawdads Sing ” is the rare movie that conforms to both those dynamics at once.

Adapted from Delia Owens ’ debut novel, which has sold 12 million copies since it was published in 2018, the movie is about a young woman whose identity is mired in physical and spiritual harshness. Kya Clark ( Daisy Edgar-Jones ) has grown up all by herself in a shack on a marshy bayou outside Barkley Cove, N.C. When we meet her, it’s 1969 and she’s being put on trial for murder. A young man who Kya was involved with has fallen to his death from a six-story fire tower. Was foul play involved? If so, was Kya the culprit? The local law enforcers don’t seem too interested in evidence. They’ve targeted Kya, who is known by the locals as Marsh Girl. For most of her life, she has been a scary local legend — the scandalous wild child, the wolf girl, the uncivilized outsider. Now, perhaps, she’s become a scapegoat.

The film then flashes back to 1953, when Kya is about 10 (and played by the feisty Jojo Regina), and her life unfolds as the redneck version of a Dickensian nightmare, with a father (Garret Dillahunt) who’s a violent abuser, a mother (Ahna O’Reilly) who abandons her, and a brother who soon follows. Kya is left with Pa, who retains his cruel ways (when a letter arrives from her mother, he burns it right in front of her), though he eases up on the beatings. Barefoot and undernourished, she tries to go to school and lasts one day; the taunting of the other kids sends her packing. Pa himself soon ditches Kya, leaving the girl to raise herself in that marshland shack.

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All very dark. Yet with these stark currents in place, “Where the Crawdads Sing” segues into episodes with Kya as a teenager and young woman, and for a while the film seems to turn into a kind of badlands YA reverie. Kya may have a past filled with torment, but on her own she’s free — to do what she likes, to find innovative ways to survive (she digs up mussels at dawn and sells them to the Black proprietors of a local general store, played by Michael Hyatt and Sterling Macer Jr., who become her caretakers in town), and to chart her own destiny.

You’d expect someone known as Marsh Girl to have a few rough edges. Remember Jodie Foster’s feral backwoods ragamuffin in “Nell”? (She, too, was from North Carolina.) Yet Kya, for a wild child, is pretty refined, with thick flowy hair parted in the middle, a wardrobe of billowy rustic dresses, and a way of speaking that makes her sound like she grew up as the daughter of a couple of English teachers. (Unlike just about everyone else in the movie, she lacks even a hint of a drawl.) She does watercolor drawings of the seashells in the marshland, and her gift for making art is singular. She’s like Huck Finn meets Pippi Longstocking by way of Alanis Morissette.

The English actor Daisy Edgar-Jones, who has mostly worked on television (“Normal People,” “War of the Worlds”), has a doleful, earnest-eyed sensuality reminiscent of the quality that Alana Haim brought to “Licorice Pizza.” She gives Kya a quiet surface but makes her wily and vibrantly poised — which isn’t necessarily wrong , but it cuts against (and maybe reveals) our own prejudices, putting the audience in the position of thinking that someone known as Marsh Girl might not come off as quite this self-possessed. Kya meets a local boy, Tate Walker (Taylor John Smith), who has the look of a preppie dreamboat and teaches her, out of the goodness of his heart, to read and write. It looks like the two are falling in love, at least until it’s time for him to go off to college in Raleigh. Despite his protestations of devotion, Kya knows that he’s not coming back.

You could say that “Where the Crawdads Sing” starts out stormy and threatening, then turns romantic and effusive, then turns foreboding again. Yet that wouldn’t express the way the film’s light and dark tones work together. The movie, written by Lucy Alibar (“Beasts of the Southern Wild”) and directed by Olivia Newman with a confidence and visual vivacity that carry you along (the lusciously crisp cinematography is by Polly Morgan), turns out to be a myth of resilience. It’s Kya’s story, and in her furtive way she keeps undermining the audience’s perceptions about her.

The scenes of Kya’s murder trial are fascinating, because they’re not staged with the usual courtroom-movie cleverness. Kya is defended by Tim Milton ( David Strathairn ), who knew her as a girl and has come out of retirement to see justice done. In his linen suits, with his Southern-gentleman logic, he demolishes one witness after another, but mostly because there isn’t much of a case against Kya. The fellow she’s accused of killing, Chase Andrews (Harris Dickinson), is the one she took up with after Tate abandoned her, and he’s a sketchier shade of preppie player, with a brusque manner that is less than trustworthy. He keeps her separate from his classy friends in town (at one point we learn why), and his scoundrel tendencies just mount from there. Did she have a motive for foul play?

“Where the Crawdads Sing” is at once a mystery, a romance, a back-to-nature reverie full of gnarled trees and hanging moss, and a parable of women’s power and independence in a world crushed under by masculine will. The movie has a lot of elements that will remind you of other films, like “The Man in the Moon,” the 1991 drama starring Reese Witherspoon (who is one of the producers here). But they combine in an original way. The ending is a genuine jaw-dropper, and while I wouldn’t go near revealing it, I’ll just say that this is a movie about fighting back against male intransigence that has the courage of its outsider spirit.

Reviewed at Museum of Modern Art, July 11, 2022. MPA Rating: PG-13. Running time: 125 MIN.

Production: A Sony Pictures Releasing release of a 3000 Pictures production. Producers: Reese Witherspoon, Lauren Neustadter. Executive producers: Rhonda Fehr, Betsy Danbury.
Crew: Director: Olivia Newman. Screenplay: Lucy Alibar. Camera: Polly Morgan. Editor: Alan Edward Bell. Music: Mychael Danna.
With: Daisy Edgar-Jones, Taylor John Smith, Harris Dickinson, Michael Hyatt, Sterling Macer Jr., David Strathairn, Jayson Warner Smith, Garret Dillahunt, Ahna O’Reilly, Eric Ladin.

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Where the Crawdads Sing

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Watch Where the Crawdads Sing with a subscription on Netflix, rent on Fandango at Home, Prime Video, or buy on Fandango at Home, Prime Video.

What to Know

Daisy Edgar-Jones gives it her all, but Where the Crawdads Sing is ultimately unable to distill its source material into a tonally coherent drama.

A particular treat for viewers who love the book, Where the Crawdads Sing offers a faithfully told, well-acted story in a rich, beautifully filmed setting.

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Olivia Newman

Daisy Edgar-Jones

Taylor John Smith

Tate Walker

Harris Dickinson

Chase Andrews

Garret Dillahunt

Michael Hyatt

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‘Where the Crawdads Sing’ Review: A Wild Heroine, a Soothing Tale

Daisy Edgar-Jones stars as an orphaned girl in the marshes of North Carolina in this tame adaptation of Delia Owens’s popular novel.

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By A.O. Scott

“Where the Crawdads Sing,” Delia Owens’s first novel, is one of the best-selling fiction books in recent years , and if nothing else the new movie version can help you understand why.

Streamlining Owens’s elaborate narrative while remaining faithful to its tone and themes, the director, Olivia Newman, and the screenwriter, Lucy Alibar ( “Beasts of the Southern Wild” ), weave a courtroom drama around a romance that is also a hymn to individual resilience and the wonder of the natural world. Though it celebrates a wild, independent heroine, the film — like the book — is as decorous and soothing as a country-club luncheon.

Set in coastal North Carolina (though filmed in Louisiana), “Where the Crawdads Sing” spends a lot of time in the vast, sun-dappled wetlands its heroine calls home. The disapproving residents of the nearby hamlet of Barkley Cove refer to her as “the marsh girl.” In court, she’s addressed as Catherine Danielle Clark. We know her as Kya.

Played in childhood by Jojo Regina and then by Daisy Edgar-Jones (known for her role in “Normal People” ), Kya is an irresistible if not quite coherent assemblage of familiar literary tropes and traits. Abused and abandoned, she is like the orphan princess in a fairy-tale, stoic in the face of adversity and skilled in the ways of survival. She is brilliant and beautiful, tough and innocent, a natural-born artist and an intuitive naturalist, a scapegoat and something close to a superhero.

That’s a lot. Edgar-Jones has the good sense — or perhaps the brazen audacity — to play Kya as a fairly normal person who finds herself in circumstances that it would be an understatement to describe as improbable. Kya lives most of her life outside of human society, amid the flora and fauna of the marsh, and sometimes she resembles the feral creature the townspeople imagine her to be. Mostly, though, she seems like a skeptical, practical-minded young woman who wants to be left alone, except when she doesn’t.

Kya attracts the attention of two young men. One, a dreamy, blue-eyed fisherman’s son named Tate (Taylor John Smith), who shares her love of shells, feathers and the creatures associated with them. Companions in childhood, they become sweethearts as teenagers, until Tate goes off to college, and Kya gets mixed up with Chase (Harris Dickinson), a handsome cad whose dead body is eventually found at the bottom of a fire tower deep in the marshlands.

Eventually but also right at the beginning. The movie begins with Chase’s death, in October, 1969. Kya is charged with murder, and her trial alternates with the story of her life up until that point. Her mother (Ahna O’Reilly) and siblings flee the violence of an abusive, alcoholic father (Garret Dillahunt), who eventually takes off too, leaving Kya on her own in possession of a metal motorboat, a fixer-upper with a screened-in porch and a curious and creative spirit.

“Where the Crawdads Sing” takes place in the ’50s and ’60s, which on the evidence of the film were uneventful decades in America, especially the American South. Kya’s hermit-like existence — she attends school for one day, doesn’t learn to read until Tate teaches her and has no radio or television — feels a bit like an alibi for the film’s detachment from history. The local store where she sells mussels and gases up her boat is run by a Black couple, Jumpin’ (Sterling Macer Jr.) and Mabel (Michael Hyatt), who nurture and protect her and seem to have no problems (or children) of their own.

Kya’s outsider status — bolstered by the presence of David Strathairn as her Atticus Finch-like defense attorney — gives the movie a notion of social concern. Equally faint is the hint of Southern Gothic that sometimes perfumes the swampy air. But for a story about sex, murder, family secrets and class resentments, the temperature is awfully mild, as if a Tennessee Williams play had been sent to Nicholas Sparks for a rewrite.

Where the Crawdads Sing Rated PG-13. Wild but tame. Running time: 2 hours 5 minutes. In theaters.

A.O. Scott is a co-chief film critic. He joined The Times in 2000 and has written for the Book Review and The New York Times Magazine. He is also the author of “Better Living Through Criticism.” More about A.O. Scott

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The cicadas buzz and the moss drips and the sunset casts a golden shimmer on the water every single evening. But while “Where the Crawdads Sing” is rich in atmosphere, it’s sorely lacking in actual substance or suspense.

Maybe it was an impossible task, taking the best-selling source material and turning it into a cinematic experience that would please both devotees and newbies alike. Delia Owens ’ novel became a phenomenon in part as a Reese Witherspoon book club selection; Witherspoon is a producer on “Where the Crawdads Sing,” and Taylor Swift wrote and performs the theme song, adding to the expectation surrounding the film’s arrival.

But the result of its pulpy premise is a movie that’s surprisingly inert. Director Olivia Newman , working from a script by Lucy Alibar , jumps back and forth without much momentum between a young woman’s murder trial and the recollections of her rough-and-tumble childhood in 1950s and ‘60s North Carolina. (Alibar also wrote “ Beasts of the Southern Wild ,” which “Where the Crawdads Sing” resembles somewhat as a story of a resourceful little girl’s survival within a squalid, swampy setting.)

It is so loaded with plot that it ends up feeling superficial, rendering major revelations as rushed afterthoughts. For a film about a brave woman who’s grown up in the wild, living by her own rules, “Where the Crawdads Sing” is unusually tepid and restrained. And aside from Daisy Edgar-Jones ’ multi-layered performance as its central figure, the characters never evolve beyond a basic trait or two.

We begin in October 1969 in the marshes of fictional Barkley Cove, North Carolina, where a couple of boys stumble upon a dead body lying in the muck. It turns out to be Chase Andrews, a popular big fish in this insular small pond. And Edgar-Jones’ Kya, with whom he’d once had an unlikely romantic entanglement, becomes the prime suspect. She’s an easy target, having long been ostracized and vilified as The Marsh Girl—or when townsfolk are feeling particularly derisive toward her, That Marsh Girl. Flashbacks reveal the abuse she and her family suffered at the hands of her volatile, alcoholic father ( Garret Dillahunt , harrowing in just a few scenes), and the subsequent abandonment she endured as everyone left her, one by one, to fend for herself—starting with her mother. These vivid, early sections are the most emotionally powerful, with Jojo Regina giving an impressive, demanding performance in her first major film role as eight-year-old Kya.

As she grows into her teens and early 20s and Edgar-Jones takes over, two very different young men shape her formative years. There’s the too-good-to-be-true Tate (Taylor John Smith ), a childhood friend who teaches her to read and write and becomes her first love. (“There was something about that boy that eased the tautness in my chest,” Kya narrates, one of many clunky examples of transferring Owens’ words from page to screen.) And later, there’s the arrogant and bullying Chase ( Harris Dickinson ), who’s obviously bad news from the start, something the reclusive Kya is unable to recognize.

But what she lacks in emotional maturity, she makes up for in curiosity about the natural world around her, and she becomes a gifted artist and autodidact. Edgar-Jones embodies Kya’s raw impulses while also subtly registering her apprehension and mistrust. Pretty much everyone lets her down and underestimates her, except for the kindly Black couple who run the local convenience store and serve as makeshift parents (Sterling Macer Jr. and Michael Hyatt , bringing much-needed warmth, even though there’s not much to their characters). David Strathairn gets the least to work with in one of the film’s most crucial roles as Kya’s attorney: a sympathetic, Atticus Finch type who comes out of retirement to represent her.

This becomes especially obvious in the film’s courtroom scenes, which are universally perfunctory and offer only the blandest cliches and expected dramatic beats. Every time “Where the Crawdads Sing” cuts back to Kya’s murder trial—which happens seemingly out of nowhere, with no discernible rhythm or reason—the pacing drags and you’ll wish you were back in the sun-dappled marshes, investigating its many creatures. ( Polly Morgan provides the pleasing cinematography.)

What actually ends up happening here, though, is such a terrible twist—and it all plays out in such dizzyingly speedy fashion—that it’s unintentionally laughable. You get the sensation that everyone involved felt the need to cram it all in, yet still maintain a manageable running time. If you’ve read the book, you know what happened to Chase Andrews; if you haven’t, I wouldn’t dream of spoiling it here. But I will say I had a variety of far more intriguing conclusions swirling around in my head in the car ride home, and you probably will, too.

Now playing in theaters.

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

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Where the Crawdads Sing (2022)

Rated PG-13 for sexual content and some violence including a sexual assault.

125 minutes

Daisy Edgar-Jones as Catherine 'Kya' Clark

Taylor John Smith as Tate Walker

Harris Dickinson as Chase Andrews

Michael Hyatt as Mabel

Sterling MacEr Jr. as Jumpin'

David Strathairn as Tom Milton

Garret Dillahunt as Pa

Eric Ladin as Eric Chastain

Ahna O'Reilly as Ma

Jojo Regina as Young Kya

Olivia Newman

Writer (based upon the novel by)

Delia Owens
Lucy Alibar

Cinematographer

Polly Morgan
Alan Edward Bell
Mychael Danna

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Daisy edgar-jones in ‘where the crawdads sing’: film review.

A young woman raised in the North Carolina marshes becomes the subject of investigation after a grisly murder in this film adaptation of Delia Owens’ best-selling novel.

By Lovia Gyarkye

Lovia Gyarkye

Arts & Culture Critic

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Kya (Daisy Edgar-Jones) in WHERE THE CRAWDADS SING.

Where the Crawdads Sing is the kind of tedious moral fantasy that fuels America’s misguided idealism. It’s an attempt at a complex tale about rejection, difference and survival. But the film, like the novel it’s based on, skirts the issues — of race, gender and class — that would texture its narrative and strengthen its broad thesis, resulting in a story that says more about how whiteness operates in a society allergic to interdependence than it does about how communities fail young people.

Directed by Olivia Newman ( First Match ), the film adaptation of Delia Owens’ popular and controversial novel of the same name tells the remarkable tale of a shy, reclusive girl raised in the marshes of North Carolina who finds herself embroiled in a grisly police investigation. Her name is Kya ( Daisy Edgar-Jones of Normal People , Fresh and Under the Banner of Heaven ), but to those in the neighboring town, whose residents abhor her, she is known simply as “Marsh Girl.” The account of her life is remarkable because it requires such a powerful suspension of disbelief, a complete abandonment of logic and total submission to the workaday beats of this story.

Full credits

Distributor: Sony Pictures Production company: 3000 Pictures Cast: Daisy Edgar-Jones, Taylor John Smith, Harris Dickinson, Michael Hyatt, Sterling Macer, Jr., David Strathairn Director: Olivia Newman Screenwriter: Lucy Alibar Based upon the novel by: Delia Owens Producer: Reese Witherspoon, Lauren Neustadter Executive producers: Rhonda Fehr, Betsy Danbury Director of photography: Polly Morgan Production designer: Sue Chan Costume designer: Mirren Gordon-Crozier Editor: Alan Edward Bell Composer: Mychael Danna Casting director: David Rubin

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Daisy Edgar-Jones in Where the Crawdads Sing.

Where the Crawdads Sing review – hit novel crashes on the big screen

The Reese Witherspoon-produced adaptation of the best-seller remains faithful to the fantasies of the book, for better and mostly for worse

W here The Crawdads Sing, the bestselling book of 2019, presents a fantasy of grit and purity: a young white girl, abandoned by her family in the 1950s, learns to fend for herself in a North Carolina marsh, goes from illiterate to acclaimed scientific author without ever abandoning her communion with the land, and finds love as an outcast so suspicious the town assumes she killed her former lover. The debut novel by Delia Owens, a former scientist in her mid-70s known for years of controversial (and possibly violent) conservation work in Africa , offered a seductive blend of romance, murder mystery and feral coming-of-age that, along with a nod from Reese Witherspoon’s book club, helped sell over 12m copies to date.

The Witherspoon-produced film version, directed by Olivia Newman from a script by Lucy Alibar (Beasts of the Southern Wild), faithfully preserves that fantasy for the big screen. Which is to say, a lot of this gutless, often silly, film’s issues are the book’s, beautifully realized and thus reified by trying to make what is essentially a mud-splattered, civil rights-era fairy tale into a lifelike story.

The film, like the book, proceeds on two timelines, the latter being a swampy mystery in 1969: who, if anyone, killed Chase Anderson, the (relatively) rich kid of Barkley Cove, North Carolina, found dead at the base of an old fire tower. Small-town gossip points to “the Marsh Girl”, 24-year-old Kya Clark (Daisy Edgar-Jones), a mysterious object of confusion and scorn who lives alone out in the dense, mostly uninhabited wetlands. Arrested and awaiting trial, a kindly lawyer (David Strathairn), sympathetic to her isolation, draws out Kya’s tale of growing up in the wild, like a folkloric wolf-child.

As a six or seven-year-old, young Kya (Jojo Regina) is abandoned by her mother (Ahna O’Reilly) and older siblings in quick succession – we’re given only a few minutes in an idyllic flashback to know them, so it’s difficult to care about who they are or sympathize with why they left the youngest child alone with an alcoholic, physically abusive father (a menacing Garrett Dillahunt). Skittish, reasonably skeptical of people, and most comfortable alone in the marsh, Kya only lasts a day in school; the other kids tease her as a swamp rat. The film’s portrayal of her poverty is more aesthetic than acute, lest it be actually uncomfortable to watch or she become less sympathetic. Kya is covered in dirt as a child but never remarked upon as smelly, barefoot in an untamed way. We never see her truly starving, and the “shack” in which she lives bears the hallmarks of a genteel existence – books, sofa and pillows, an old radio, boxes of her mother’s fine dresses.

As a lissome, isolated teenager played by Daisy Edgar-Jones, Kya finds connection (and supplies) through Jumpin’ (Sterling Macer, Jr), a general store owner, and his wife Mabel (Michael Hyatt) – kindly black folks who, true to the novel’s sentimentalist roots, do little more than be concerned and kindly to a fellow outsider. With the help of handsome childhood friend Tate (Taylor John Smith), Kya learns to read, to translate her love of the marsh into scientific language, and in the film’s strongest section, to fall in love.

Yet at almost every turn, she is betrayed: by Tate, when he leaves for college without saying goodbye; years later by Chase, when his talk of love and marriage culminates in one disappointing (and accurately rendered) night at a motel and devolves into horrific violation. By the townspeople of Barkley Cove, who are so reluctant to see the intelligent, sensitive young woman beneath the Marsh Girl myth that they suspect her of murder. The final quarter of the two-hour film depicts her brisk, ludicrously simple trial, which only underscores Kya’s pristine innocence and her lifelong commitment to the marsh.

That marsh, filmed in coastal Louisiana, is indeed beautiful – cinematography by Polly Morgan captures vivid sunsets, gliding herons, a maze of waterways transparently worthy of devotion and care. So, too, is Normal People’s Edgar-Jones, who has found somewhat of a niche in supposedly off-putting characters that become, in her hands, doe-like, fragile and magnetic. With her searching, pooled brown eyes, Edgar-Jones can capably play a shy young woman of few words. She breathes life into Kya, particularly in intimate scenes, but struggles to ground the character’s (admittedly confusing) ruggedness; it never makes sense that the town’s No 1 outcast is a thin, conventionally beautiful, quiet and polite white woman.

A braver film would have aimed for actual grit more than the allusion to it, looked to the scabbier (and thus interesting) parts of Kya’s personality, captured a fundamental awkwardness to life outside of human interaction along with an idealized naiveté. Most of all, drawn out darker aspects of Kya’s story that could justify an implausible twist ending that undercuts almost everything that comes before, if you think about it for more than two seconds (this is also a book problem). But Where the Crawdads Sing never really had an interest in complications, or hardship, or racism as anything beyond wallpaper for its central nature girl fantasy of self-reliance. It would rather stay above the fray, gliding prettily along the marsh without actually getting dirty.

Where the Crawdads Sing is out in US cinemas on 15 July and in the UK on 22 July

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Where the Crawdads Sing Eats Itself into Nothingness

In a perfect vacuum, you probably wouldn’t guess that Where the Crawdads Sing is based on a runaway publishing phenomenon, a book that has sold more than 12 million copies in just a few years. One doesn’t have to have loved Delia Owens’s debut novel to see why it has appealed to countless readers. Part murder mystery, part swoony romance, part cornpone coming-of-age tale, it’s an atmospheric and gleefully overheated melodrama, the kind of book that might make you tear up even as you curse its (many, many) shortcomings. The movie is resolutely faithful to the incidents of the novel, but it doesn’t seem particularly interested in standing on its own, in being a movie . It feels like an illustration more than an adaptation.

The story of Kya Clark, a young girl abandoned by her destitute family and forced to survive on her own in a remote corner of the North Carolina wilderness, the film starts off (much like the book) with a murder investigation and then flashes back to her life. The body of a man, Chase Andrews (Harris Dickinson), has been found in the woods, and suspicion has settled on Kya (played as an adult by Daisy Edgar-Jones), a loner known to much of the town as “the Marsh Girl.” Taking up the case is a kindly local retired lawyer (played by a much-needed David Strathairn), who believes that Kya has been accused not because of any actual evidence against her, but because she’s been an outcast all her life, ridiculed and hated for years by the townsfolk as some kind of crazy, uncivilized brute.

As we go through Kya’s earlier years, we see a childhood defined by solitude — her mother and her siblings all leave their abusive father one by one, and dad himself (Garret Dillahunt) eventually disappears, leaving Kya alone in the family’s run-down shack on the edge of the marsh. As she grows up, Kya is romanced by a couple of blandly handsome two by fours — nerdy-nice Tate (played by Taylor John Smith as a grown-up) who shares her obsession with nature but then abandons her, and then local rich-boy Chase, who seems fascinated by her but clearly has little interest in a real relationship. We’re supposed to like one and dislike the other, but both Tate and Chase are so underdeveloped that it’s initially hard to feel much of anything for either. They barely register as people. Smith does little but stare lovingly, and Dickinson (who has, to be fair, distinguished himself in previous roles) brings a dash of snotty entitlement to Chase, but not much else.

The best thing about both novel and movie is Kya herself, a submerged character who finds solace and companionship in nature, and who, never having lived anything resembling a normal life around other people, doesn’t quite know what to do with her emotions. As the young Marsh Girl, Jojo Regina is quite moving; your heart goes out to her when a character reads out the local school lunch menu as a way of enticing the impoverished Kya to attend class. It’s a tough balance, to present a child as being both feisty and vulnerable without going overboard into schmaltzy pathos, and the film handles that particular challenge fairly well. As the grown-up Kya, Edgar-Jones is perhaps best at conveying this young woman’s wounded inner life; that speaks to the actress’s talents. However, she never really feels like someone who emerged from this world, but rather one who was dropped into it; that speaks to the clunky filmmaking.

It’s kind of a shock to find the movie version of Crawdads so lacking in atmosphere, as you’d think that’d be the one thing it would nail. Not the least because that lies at the heart of the book’s appeal: Owens spends pages describing the rough, wild, primeval world in which Kya lives, and she convincingly presents the girl as a part of the natural order of this untouched world. At various points, Kya sees herself reflected in the behavior of wild turkeys, snow geese, fireflies, seagulls, and more. She calls herself a seashell and later on finds friendship in Sunday Justice, the jailhouse cat. Where the Crawdads Sing is a book that drips with atmosphere and environmental detail, which enhance our understanding of the protagonist — and help justify some of the story’s more dramatic turns. Owens is herself a retired wildlife biologist who had previously written a number of nature books before turning to fiction. It’s no surprise that her novel works best as an extension of her prior work.

By contrast, the film’s director, Olivia Newman, presents the marsh as a postcard-pretty backdrop, a mostly distant and at times surprisingly calm and orderly space. There’s little sense of wildness, of unpredictability or abandon. Readers will of course often imagine settings differently than film adaptations, but that’s not the problem here. Onscreen, the marsh just never really registers as any kind of place, and it certainly doesn’t register as a spiritual canvas for Kya’s journey. (At times, I wondered if some of the landscape shots might actually have been green-screened in.) Even the fact that Kya has spent much of her life drawing the wildlife of the region – which ultimately plays a huge role in who she becomes – doesn’t come into play until relatively late in the film. None of these would necessarily be problems if the film weren’t otherwise so faithful to the book’s narrative.

This is the challenge of literary condensation. The murder investigation and the ensuing courtroom drama are the least compelling parts of Owens’s novel, there mostly as a loose framing device to tell Kya’s life story. Indeed, she saves the bulk of the trial for the back half of the book, and then breezes by the suspense and the procedural back-and-forth, presumably because she’s not interested in all that. (Spoiler alert: She’s more interested in the twist she springs in her final pages – a twist that also has some eerie echoes of a real-life murder investigation in Zambia that Owens and her ex-husband are reportedly embroiled in, but that’s a whole other crazy story .)

That leaves the movie with a genre-friendly structure, but almost nothing to populate it with. As a result, for much of Where the Crawdads Sing , we’re left watching a not-very interesting and all-but predetermined trial, with little suspense or surprise. We don’t ever really see what the prosecution’s case is against Kya. (If you read the book, you’d have some sense of it, but even there, it’s cursory and half-baked.) It’s a classic Catch-22: The film, to stay true to its wildly popular source material, has to focus on the case, which in turn leaves the picture little room to breathe, to let the audience bask in the atmosphere of this fascinating milieu… which is at least partly why the source material was so wildly popular in the first place. So, forget the crawdads, the turkeys, the fireflies, the seashells, and the snow geese. Forget even the jailhouse cat. The movie is a snake that eats itself.

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Where the crawdads sing review: gorgeous visuals clash with storytelling issues.

However, as a movie, Where the Crawdads Sing stumbles a bit in its transition from page to screen, though it is aided by a great lead performance.

Book-to-movie adaptations can be notoriously difficult to nail. Get things right, and fans of the source material will sing its praises. Get things wrong, though, and the movie will become infamous. In the case of Where the Crawdads Sing , Olivia Newman's adaptation of Delia Owens' best-selling novel, there is a very good chance it will find itself in the former category when it arrives in theaters. The gorgeously-shot movie is incredibly faithful to the book and will no doubt delight those who have eagerly devoured its pages. However, as a movie, Where the Crawdads Sing stumbles a bit in its transition from page to screen, though it is aided by a great lead performance.

Picking up in 1969, the sleepy town of Barkley Cove, North Carolina is shaken by the apparent murder of golden boy Chase Andrews (Harris Dickinson). There is a shocking lack of evidence found at the crime scene, but rumors have already put a suspect on trial: The famed "Marsh Girl," a Barkley Cove legend who has been the subject of scorn for years. In reality, the Marsh Girl is Kya Clark ( Daisy Edgar-Jones ), a shy girl with a deep passion for nature. Turning back the clock several years, Where the Crawdads Sing digs into Kya's life, her relationship with the surrounding marsh, and whether she might be involved in Chase's untimely demise.

Related: Mrs. Harris Goes To Paris Review: Lesley Manville Shines In Wholesome 1950s Tale

Where the Crawdads Sing has been a book club favorite for years now, and as a result, its adaptation has some high expectations attached. Luckily, it is clear from almost the very beginning that Newman and her team have nothing but the utmost respect for the source material. Lucy Alibar has penned a screenplay that is filled with numerous details and lines lifted straight from the book, making this one of the most faithful adaptations in recent memory. To be sure, Where the Crawdads Sing makes some adjustments here and there, but they are relatively small. By filming on location, Newman is able to make the most of actual marshes in the South, and cinematographer Polly Morgan does an excellent job at showcasing these beautiful natural landscapes. In many ways, Where the Crawdads Sing really brings Kya's world to life in vivid fashion, including through the carefully detailed work of production designer Sue Chan.

However, there are places where the movie's devotion to the book causes it to run aground. Literally, in a way, as Where the Crawdads Sing holds some pacing issues. There are key moments in Kya's murder trial that should be filled with tension and suspense; instead, they lack the necessary urgency. On the specific topic of the trial, the movie suffers early on from jarring cuts between the past and the present. These get better as Chase's prominence in the plot increases, but the first portion of Where the Crawdads Sing can't seem to find a suitable balance between Kya's early life and her uneasy future. Additionally, in its attempt to bring as many book moments to life as possible, the movie finds itself grappling with a few awkward moments that, while reading fine on the page, don't exactly translate well to a visual medium.

Where the Crawdads Sing 's greatest strength is Edgar-Jones (and Jojo Regina, who plays a younger Kya). Kya is a unique main character and Edgar-Jones does a great job in bringing her to life. Whether it is by expressing delighted wonderment over a gifted feather or retreating in on herself in the face of a potential death sentence, Edgar-Jones plays all sides of Kya with ease. Taylor John Smith takes on the pivotal role of Tate, Kya's first true friend. Armed with a kind smile and earnest disposition, Smith possesses all the charms Tate should have, and his chemistry with Edgar-Jones further sells their bond. As the more complicated Chase, Dickinson does a good job in gradually exposing the kind of man his character really is. Special credit should be given to Michael Hyatt and Sterling Mercer Jr. as Mabel and Jumpin, respectively; though their roles remain as sadly underwritten as they are in the book, they bring real heart to each and every one of their scenes.

Where the Crawdads Sing will surely appease fans of the book, and on some level, its adherence to the source material is to be commended. It is very clear the filmmaking team respects and appreciates the book. However, that passion doesn't entirely hide the cracks that emerge when transferring a story from one medium to another. The production itself and Edgar-Jones do much to bring this world to brilliant life. Ultimately, though, Where the Crawdads Sing is unable to soar like the birds Kya admires so much.

More: Watch The Where The Crawdads Sing Trailer

Where the Crawdads Sing releases in theaters Friday, July 15. It is 125 minutes long and rated PG-13 for sexual content and some violence including a sexual assault.

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‘Where The Crawdads Sing’ review: A faithful if unfulfilling adaptation of bestselling novel

Movie review.

In 2018, retired zoologist Delia Owens, the author of the bestselling 1984 memoir “Cry of the Kalahari,” published her first novel at the age of 69. “Where the Crawdads Sing” is set on the North Carolina coast in the 1950s and ‘60s, threading romance and murder mystery through the life story of a young, isolated woman, Kya, who grows up abandoned in the marsh. The story is a bit far-fetched, the characterizations broad, but there’s a beauty in Owens’ description of Kya’s relationship to the natural world. Her derisive nickname, “the Marsh Girl,” ultimately becomes her strength.

“Where the Crawdads Sing” has become a legitimate publishing phenomenon, one of the bestselling books of all time, despite a controversy bubbling in Owens’ past — a connection to the murder of a suspected animal poacher in Zambia. Reese Witherspoon bestowed the book with her book club blessing, and as she has done with other titles from her club, like “Big Little Lies,” Witherspoon has produced the film adaptation of “Where the Crawdads Sing,” written by Lucy Alibar, directed by Olivia Newman and starring Daisy Edgar-Jones as the heroine, Kya.

The film is easily slotted into the Southern Gothic courtroom drama subgenre — it’s like “A Time to Kill” with a feminine touch. While the nature of adaptation requires compression and elision, the film dutifully tells the story that fans of the book will turn out to see brought to life on the big screen. But in checking off all the plot points, the movie version loses what makes the book work, which is the time we spend with our heroine, Kya.

Kya is a tricky protagonist whose life story requires a certain suspension of disbelief. Abandoned by her mother (Ahna O’Reilly) and siblings escaping the drunken abuse of her father (Garret Dillahunt), who later disappears, young Kya (Jojo Regina) survives on her own, selling mussels to the proprietor of the local bait and tackle shop, Jumpin’ (Sterling Macer Jr.). His wife, Mabel (Michael Hyatt), takes pity on Kya and offers her some clothes and food donations, but it’s an exceedingly tough existence, something that the film does not manage to fully convey.

As a teen, Kya (Edgar-Jones) forms a friendship with a local boy, Tate (Taylor John Smith), who teaches her to read, and though their relationship turns romantic, he ultimately leaves her for college. Abandoned once again, she seeks companionship with popular local cad Chase Andrews (Harris Dickinson). It’s his death, from a fall at the rickety fire tower, that sees Kya on trial in the town of Barkley Cove, which ultimately becomes a referendum on how she’s been harshly judged over the years by the townspeople.

The only reason Kya works in the book is the amount of time the reader spends with her in the marsh, understanding the tactics she uses to get by, and getting to know the natural world in the way that she does, observing the patterns and life cycles of animals, insects and plants. The deep knowledge of her environment and ad hoc education from Tate helps Kya overcome poverty, as she publishes illustrated books of local shells, plants and birds. But in the film, which sacrifices getting to know her in order to prioritize the more scandal-driven twists and turns, Kya comes off as somewhat silly, a bit easy to laugh at in her naiveté and guilelessness.

There’s also the matter of plausibility, and the shininess with which this rough, wild world has been rendered by Newman and cinematographer Polly Morgan. The marsh (shot on location in Louisiana) is captured with a crisp, if perfunctory beauty, but it’s hard to buy English rose Edgar-Jones in her crisp blouses and clean jeans as the near-feral naturalist who has been brutally cast out by society. Everything’s just too pretty, a Disneyland version of the marsh.

The whole world feels sanded-down and spit-shined within in an inch of its life, lacking any grime or grit that might make this feel authentic, and that extends to the storytelling as well. It feels exceedingly rushed, as the actors hit their marks and deliver their monologues with a sense of obligation to moving the plot along rather than developing character. Hyatt, as Mabel, and David Strathairn, who plays Kya’s lawyer, Tom Milton, are the only actors who deliver grounded performances that feel like real people — everyone else feels like a two-dimensional version of an archetype spouting the necessary backstory or subtext to keep the plot churning forward.

Though it is faithful, “Where the Crawdads Sing” is lacking the essential character and storytelling connective tissue that makes a story like this work — an adaptation such as this cannot survive on plot alone.

With Daisy Edgar-Jones, Taylor John Smith, Harris Dickinson, David Strathairn. Directed by Olivia Newman. 125 minutes. Rated PG-13 for sexual content and some violence including a sexual assault. Opens July 15 at multiple theaters.

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‘Where the Crawdads Sing’ Review: The Literary Sensation Becomes a Glossy Summer Popcorn Movie

David ehrlich.

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We may never know the full truth behind Delia Owens’ checkered past as a conservationist — which almost certainly seem to include a militant, white savior-minded approach to policing Zambian wildlife preserves, and may also extend to being a “co-conspirator and accessory” to murder — but the secret to the “ Where the Crawdads Sing ” author’s success is now as obvious as her plotting, even to those of us who had never heard of the runaway bestseller until Taylor Swift invented it a few short weeks ago. Olivia Newman’s (“First Match”) slick and glossy beach read of a movie adaptation brings it all right to the surface. Which is just as well, because the surface is the only layer this movie has.

Yes, this is an expertly contrived melodrama about defiance in the face of abandonment, and sure, it’s also a faintly self-exonerating caricature of a natural woman unspoiled by Western society. But underneath the story’s humid romance with Carolina marshland, and behind its Hollywood-ready façade of backwater Americana, “Where the Crawdads Sing” is really just a swampy riff on “Pygmalion,” with Eliza Doolittle reimagined as a semi-feral outsider who’s obviously the hottest girl in town, but lives in almost complete isolation until the Zack Siler of Barkley Cove teachers her how to read and make out.

Streamlined from its source material with the help of a Lucy Aliber script that embraces the frothiness of Owens’ book while turning down the temperature of its florid, nature is my real mama narration, the film version of “Where the Crawdads Sing” is a lot more fun as a hothouse page-turner than it is as a soulful tale of feminine self-sufficiency. That it’s able to split the difference between Nicholas Sparks and “Nell” with any measure of believability is a testament to Daisy Edgar-Jones ’ careful performance as Kya Clark.

The youngest daughter of an abusive drunk, and the only member of her family who stayed in their remote North Carolina house until the day Pa died sometime in the 1950s, Kya’s childhood was spent watching the people who loved her leave one-by-one (she’s played as a child by Jojo Regina). On her own from an early age, and dehumanized into folklore by the “normal” people in town — especially the kids, who label her “Marsh Girl” and laugh her right back to the swamp when she shows up at school without shoes on — Kya is forced to survive by selling mussels to the nice Black couple who run the local store (Sterling Macer, Jr. as Jumpin, and Michael Hyatt as his wife Mabel).

Some years later she’ll be hauled down to the Barkley Cove jail and forced to stand trial for the murder of a pasty cad named Chase Andrews; it’s there, at the behest of the retired lawyer ( David Strathairn !) who takes her case out of the goodness of his heart, that Kya is finally compelled to share her life story for the first time, her voiceover guiding us through the past in snippets of evocatively overwrought prose that establish her connection to nature. “Marsh is a space of light,” she coos, “where grass grows in water, and water flows into the sky.” In a real time is a flat circle kind of twist, it often feels like Kya taught herself to write by reading all the other novels that have been canonized by Reese Witherspoon’s book club.

Of course, self-reliant and capable as Kya is, we soon learn that she learned her letters with the help of the square-jawed soft boy who grew up down the creek. The Dawson Leery to Kya’s Joey Potter, Tate Walker (Taylor John Smith) is a kind-hearted soul who lost some family of his own, which might explain why he always remembered the orphaned girl who everyone else in Barkley Cove was eager to forget. In the summer before college, Tate starts leaving Kya supplies on a tree stump — as if he were filling a food trap for a wild animal — only to discover that the Marsh Girl has matured into a movie star. It’s a genuine credit to Newman’s handle on her film’s silly-serious tone that she allows Kya, who doesn’t have electricity or running water, to look like she’s blown all of her mussel money on Pantene Pro-V. Anyway, kissing ensues. Sometimes amid a slow-motion vortex of leaves.

Kya (Daisy Edgar-Jones) and Tate Walker (Taylor John Smith) in Columbia Pictures' WHERE THE CRAWDADS SING.

But if Tate thinks the Marsh Girl will always be waiting for him (a girl can only go so far without shoes), he’s in for a rude awakening; once the word gets out that Kya is a total catch, she becomes an irresistible fetish object for the kind of fella who might have less honorable intentions. Enter our corpse-in-waiting, Mr. Chase Andrews. Played by a slithering but somewhat vulnerable Harris Dickinson , who looks so much like Taylor John Smith that his dark-haired character might as well be the blond Tate’s evil twin, Chase loves Kya like a backhanded compliment, and talks down to her even when he’s trying to get her top off. We know he won’t be around for long, but did he fall from that rickety fire tower, or was he pushed? Surely a girl like Kya, so desperate for someone who might not abandon her, wouldn’t kill the one person who hadn’t yet?

That framing device of a question looms in the background of a movie that is far less interested in how Chase dies than it is by how Kya is persecuted for it — by how the Marsh Girl has remained innocent despite a lifetime of prejudice. Shy without being sneaky, naive without seeming childlike, and in tune with nature without going full “raised by wolves” (though the jailhouse cat’s instant affinity for her is a little much), Edgar-Jones’ wide-eyed performance completely sells us on Kya’s reality as a survivor. Her soft voice and defensive posture lend the character a lilting interiority that holds this movie together across multiple timelines.

Kya (Daisy Edgar-Jones) in Columbia Pictures' WHERE THE CRAWDADS SING.

It’s a doubly impressive feat in an adaptation that’s often edited to feel like a two-hour montage, a nagging issue that leaves “Crawdads” a little off-key from its slippery first half to its inelegant coda (though only one early scene of young Kya and Tate yapping at each other from separate boats truly borders on “Bohemian Rhapsody” territory). It’s just a shame the story’s ultra-predictable ending is presented in a way that denies us the full potential of Edgar-Jones’ performance, as Newman opts for hair-raising inference over primal satisfaction.

To that same point, “Where the Crawdads Sing” works best when it embraces its own true nature as a popcorn movie. Newman seems to recognize that “and David Strathairn” are the three most beautiful words that can ever appear in the opening credits of a studio film, and she gives the actor the space he needs to stalk across a sweaty courtroom in a white suit and make us gasp along with the small crowd of people who’ve gathered to witness Kya’s trial. Dickinson textures Chase as well as the script will allow, but delights in the character’s inherent punchability so that the film’s central love triangle never loses it shape. If Jumpin and Mabel still betray the career-long criticism that Owens tends to infantilize her Black characters, Macer and Hyatt ground their roles in a quiet dignity that pushes back against how they may have been written on the page.

As a movie, “Where the Crawdads Sing” never seems worthy of the hullabaloo that continues to surround the book, but — much like its heroine — Newman’s adaptation finds just enough ways to endure.

Sony Pictures will release “Where the Crawdads Sing” in theaters on Friday, July 15.

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DVD & Streaming

Where the Crawdads Sing

Drama , Romance

Content Caution

In Theaters

July 15, 2022
Daisy Edgar-Jones as Kya Clark; Taylor John Smith as Tate Walker; David Strathairn as Tom Milton; Harris Dickinson as Chase Andrews; Sterling Macer Jr. as Jumpin'; Michael Hyatt as Mabel; Garret Dillahunt as Pa

Home Release Date

September 6, 2022
Olivia Newman

Distributor

Columbia Pictures

Movie Review

She was born and raised in a swamp.

’Course, it’s the “raised” part that’s debatable. Kya Clark’s Pa was a man of heavy-drinking, heavy-fisted ways. Because of that, Ma and Kya’s siblings all left—one-by-one, in cuts and bruises—when she was but a little thing. And her Pa up and left not many years after.

So, at about the age of 8, Kya was called upon to raise herself in that little shack deep in the marsh where the crawdads sing. And being alone was a feeling so vast, it echoed. But she learned how to find things in the marsh to eat. And she dug up swampy mussels to trade at a nearby store for grits and gas and other necessities.

The store’s owners, Jumpin’ and Mable, looked out for her, best they could. They even gave her help in going to the local school to learn reading and writing. But it didn’t stick. The town kids called her Swamp Rat and Marsh Girl, and meanness drove her back to her familiar marshy world.

But there was always that longing, that desire to connect. And as Kya grew older (and prettier) some would turn their eyes in her direction without harsh words. A kind young man named Tate took the time to talk, and to teach her to read. And a popular, but not-as-kind towner named Chase Andrews taught her … other things.

Years later, though, when Chase was found dead in the swamp, many eyes turned in Kya’s direction. The town was certain who the responsible party was: the Marsh Girl!

How couldn’t it be? After all, Kya Clark was just some nasty young woman born in a swamp.

Positive Elements

In spite of all the hardships that little Kya endures, she actually grows to become an educated, kind-hearted young woman. Much of that growth comes through her own effort and desire to better herself. But a lot can be attributed to the people who were kind and giving to her—including Jumpin’, Mabel and Tate.

Tate, in particular, helps Kya out. He offers her his friendship and brings her books so that she can learn to read and learn about the marsh around her. Eventually, she uses the knowledge she’s acquired to catalog and draw the various plants and insects that populate her marsh.

Spiritual Elements

After Jumpin’ implores young Kya to be careful around townspeople, his wife, Mabel, pushes back with a quote from the book of Mathew: “Don’t say that in the Bible. ‘Do unto the least of these, you have done it unto me.’ Don’t say nothin’ about ‘Be careful.’”

Sexual Content

Kya’s first sexual interactions happen with Tate as their friendship blossoms into attraction. We see them hugging and kissing on a number of occasions. And that eventually leads to something more serious. Clothes are removed. A passionate make-out session ensues. We see some caressing, and the camera stays close. Bare backs and shoulders are visible; other areas are strategically covered. Before going too far, however, Tate backs off since he knows he’ll be going away to college soon. “I care about you too much,” he tells her. Elsewhere, he demonstrates that he doesn’t want to take advantage of her.

Much later we see them together again. There’s embracing, kissing and scattered clothes; and it’s implied they have sex. He asks her to marry him while they’re in bed together. She replies, “Aren’t we already?”

Kya’s sexual interactions with Chase are less romantic and respectful. He’s called a Tom Cat by someone because of how he chases and plays with town girls. And that’s reflected in his relationship with Kya. Chase is often aggressive, and he pushes Kya into situations she’s obviously uncomfortable with. There’s kissing and fondling (outside her clothes). They eventually have sex in bed (and it’s implied that it’s uncomfortable for her). He’s shown shirtless, while she’s still clothed from the waist up—though undergarments are obviously removed.

Later, it’s implied that they have an ongoing sex life—and he promises marriage—even though by now he’s also gotten married to another woman from town.

Violent Content

Kya’s dad is an angry drunk. We see him slap 6-year-old Kya so hard she flies off a small pier into the water. He also punches his wife in the face, and she collapses to the ground. Later we see Ma with a swollen face as she slips away from the house to run from him. We see the various siblings with bruises and cut lips before they run away.

Kya soon learns to placate Pa’s mood and stay out of sight as often as possible. He gives her an angry, but grudging, respect for those kinds of choices. But then he leaves as well.

Later, Chase ends up being something of a mirror image of Kya’s dad. He drinks and he gets violent when Kya refuses his advances. At one point he backhands her, punches her in the face and moves to rape her. But she’s older now and defends herself: She hits him back, kicking him and throwing rocks at him before getting away. We see her later with a cut and dark bruise on her face.

Chase and Tate engage in a scuffle in town. The two men punch and slap each other before being pulled apart.

Boys find a dead body in the swamp and the camera eyes the crumpled form. It’s determined he fell forty feet from a nearby fire tower.

We hear that Kya’s mother died from leukemia. An angry man smashes and tears his way through Kya’s small cabin.

Crude or Profane Language

There are a couple uses each of “b–ch,” “b–tard,” “d–n,” “h—” and “a–” and one s-word. God’s and Jesus’ names are misused a total of three times (with God being combined with “d–n” on one of those).

Drug and Alcohol Content

We see young Kya’s dad buy Jim Beam at the local store. He drinks it and passes out. And it’s implied that alcohol spurs other rages, too. We also see Chase and friends drink beer.

Other Negative Elements

We occasionally witness Southern racial attitudes of the 1950s and ’60s on display. A local government official talks down to Jumpin’, for instance, calling him a “boy.”

The fact is, both Tate and Chase treat Kya pretty badly. They both turn away from her because of pressure from family and friends to “avoid the Marsh Girl.” (Tate later apologizes for his thoughtless actions.)

Where the Crawdads Sing is a story and a movie of contrasts.

It’s part murder tale and court case, and equal part romance. It tells of a young woman who has become strong and self-sufficient in the face of loneliness and physical abuse. And it’s lovely—thanks in great part to the gentle character portrayal by lead Daisy Edgar-Jones—while at the same time containing sexuality and violence that many will find extremely uncomfortable.

In that sense this film about a young woman who thrives in her love of nature and her longing for connection is much like a wetland flower with soft, fragrant petals atop thorns you cannot help but feel.

After spending more than two decades touring, directing, writing and producing for Christian theater and radio (most recently for Adventures in Odyssey, which he still contributes to), Bob joined the Plugged In staff to help us focus more heavily on video games. He is also one of our primary movie reviewers.

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Film Review: Best-Selling Book Adaptation ‘Where The Crawdads Sing’

By Todd McCarthy

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If you were to come across this film on its own without any prior knowledge of, or connection to, a renowned book, you’d likely pay it little, if any, notice; as a stand-alone movie with no stars or critical notoriety, it doesn’t have much to offer. But this is a different kettle of sea creature, the story of a woefully neglected little sprite who admirably perseveres and steels herself with precious little outside help to become a success on her own terms.

The film does little to explain how she manages this. One by one, those close to her disappear, and the only people who behave nicely to this “marsh girl” are a Black couple who run the local general store and help her out when they can. She’s an outcast and it’s amazing that she survives, but she does and, along the way, becomes a self-taught, highly idiosyncratic artist in the bargain.

From any angle, the odds are terribly against her, but she perseveres in ways that are barely shown and just have to be taken on faith. It would have been interesting to see how she learns and charts a path for herself artistically, but the details of her resourcefulness and budding creativity and are mostly skirted and the film never gets inside her head to make the viewer privy to how she learns to cope and, ultimately, excel.

Beginning in the early 1950s, the yarn is one of destitution, loss and little reason for hope; this swampy part of North Carolina is a place that offers precious few possibilities and seems to turn out very angry people. By the time she reaches her teens, Kya (British actress Daisy Edgar-Jones , of the limited series Normal People ), most of her family has taken off. But instead of looking elsewhere, Kya stays put, eking out a solitary existence on a far fringe of society and eventually showing creative tendencies that will blossom in interesting ways.

By the early 1960s, three men come to play decisive roles in her life. Tate (Taylor John Smith) is a nice cute fellow who eventually heads off for college; Chase (Harris Dickinson) is a hunky bad boy who fancies himself the rooster in these parts, does Kya wrong and soon comes to no good; and Tom Milton (David Strathairn), a down-home lawyer who steps up to defend Kya when she’s wrongly accused of Chase’s murder. It all gets very sticky, and in melodramatic ways that have obviously grabbed the reading public’s appetite with its mixture of the sordid and the inspiring.

But it doesn’t come off well onscreen. For a dark and dirty yarn littered with bad behavior and base motives, the tenor of the proceedings is far too pretty and genteel; there’s little sense of the community in general, of peoples mixed motives and hypocritical attitudes. Nor is there a strong sense of Southern culture the way there was in, say, Elia Kazan’s late 1950s films such as Baby Doll , A Face in the Crowd or Wild River .

More significantly, the viewer is never really made to understand how, all by herself, Kya manages the transition from swamp girl to meticulous artist. Kya is onscreen much of the time but you never get inside her head, either when dealing with others or figuring out how she intends to carve out a life for herself alone and far from civilization. When she finally is forced to appear in such a formal setting as a courthouse for her murder trial, you wonder how she can cope with it all, but at least in this climactic stretch there is the compensation of Strathairn’s company as the defense lawyer who quietly and most competently handles his young client’s case.

Stylistically, the film, which was written by Lucy Alibar, who co-wrote the estimable Beasts of the Southern Wild , and directed by Olivia Newman, whose wrestling drama First Match appeared in 2018, could not be more conventional, emotionally or psychologically. When you finally see Kya’s life work in full flower, it’s quite impressive, but up to then there’s been no sign of her creative progression, of how she arrived at such an exalted state—suddenly, it’s just there. This is a rough story of abuse and survival, but it’s all treated in a surface way that just doesn’t penetrate, offer any insights or go deep.

Sony Pictures releases Where the Crawdads Sing on Friday.

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‘Where The Crawdads Sing’: Review

By Tim Grierson, Senior US Critic 2022-07-12T16:00:00+01:00

Daisy Edgar-Jones shines in this otherwise pulpy adaptation of the Delia Owens bestseller

Source: Sony Pictures

‘Where The Crawdads Sing’

Dir: Olivia Newman. US. 2022. 125mins

Toxic masculinity, domestic abuse and the shunning of the less-fortunate: Where The Crawdads Sing seethes with myriad social ills, but this adaptation of the Delia Owens bestseller proves to be an unconvincing, melodramatic affair that only occasionally locates the story’s mournful heart. Daisy Edgar-Jones plays a loner who’s lived away from society, only to be suspected of murder because the community considers her nothing more than a freakish recluse. A mixture of love story, courtroom drama and whodunit, the film tends toward cliche, packed with underdeveloped performances and unearned plot twists.

Daisy Edgar-Jones, superb in the 2020 miniseries Normal People , brings a vulnerability and subtle steel to Kya

Sony will release Crawdads on July 15 in the US and July 22 in the UK, the anticipation bolstered by the book’s popularity. (Since the novel debuted in 2018, it has sold approximately 12 million copies.) Reese Witherspoon produced this adaptation after selecting the novel for her influential Book Club, and will be hoping that real-world controversies surrounding the Owens family and a murder in Zambia in the 1990s, as detailed in a recent investigative piece in ’The Atlantic’, won’t deter potential viewers. But while there’s certainly room at the multiplex for an event film that has nothing to do with superheroes or Minions, it’s more likely that it will be less-than-glowing reviews that impact theatrical prospects.

Rural North Carolina, 1969. Kya (Edgar-Jones) lives by herself in her family’s rustic house out in the marshlands, all her life being cruelly nicknamed “The Marsh Girl” by the townspeople. But when the handsome, popular Chase (Harris Dickinson) is found dead — and because they engaged in a secret romantic relationship — Kya is put on trial, the kindly retired local attorney Tom (David Strathairn) stepping in to represent her.

That trial is juxtaposed with a series of flashbacks as we see the adolescence of the now-25-year-old Kya, who survived an abusive father (Garret Dillahunt), endured poverty, received no formal education and learned to fend for herself, eventually attracting the fancy of a fellow nature-lover, Tate (Taylor John Smith). However, Kya and Tate are soon split apart due to complicated circumstances, leading to her tentative courtship with the cockier Chase.

Director Olivia Newman ( First Match ) works with cinematographer Polly Morgan to capture the beauty of the landscape, suggesting an earthly paradise in which Kya can escape from the world. ( Crawdads was shot outside of New Orleans.) But it’s a paradise that’s constantly threatened, either by her violent father in flashback or by society Kya goes to trial in 1969, facing the possibility of the death penalty if she’s found guilty.

Edgar-Jones, superb in the 2020 miniseries Normal People , brings a vulnerability and subtle steel to Kya, who is used to being shunned, although that public scorn has done nothing to crush her spirits or dampen her artistic flowering. The character ends up being too much of a construct — a milder variation of the feral wild child cut off from the so-called civilised world — but Edgar-Jones does her best to illuminate Kya’s buried trauma and resilient decency.

Unfortunately, neither of the men in her orbit are especially riveting romantic options. Smith plays Tate with a winning wholesomeness, but his rapport with Edgar-Jones lacks electricity. As a result, the characters’ love affair is a little too chaste, which is meant to contrast later with Chase’s bad-boy demeanour, resulting in a fractious relationship that draws uncomfortable comparisons for Kya to the way her father treated her mother. Dickinson exuded melancholy soulfulness as the dim, hunky model in the Palme d’Or-winning Triangle Of Sadness , but in Crawdads he’s trapped in a far more one-dimensional role as an entitled, snide jock.

Newman fails to enliven familiar scenes of courtroom intrigue — spectators react with predictably overheated shock to each surprising bit of testimony — and as the flashbacks begin to hint at what happened to Chase, Crawdads builds to an unsubtle condemnation of a close-minded patriarchy that literally and figuratively puts a woman like Kya on trial.

To be sure, the film has valid points to raise about sexual assault and society’s refusal to believe women, but the story’s page-turning pulpiness comes across as shallow and sensational rather than thoughtful or emotionally charged. As for Crawdads ’ final reveal, in a more compelling picture such a twist would have forced the audience to question how we perceive “victims” and “survivors.” Instead, it merely feels glib, an artificial way to hit viewers with one last narrative wallop.

Production company: Hello Sunshine

Worldwide distribution: Sony Pictures

Producers: Reese Witherspoon, Lauren Neustadter

Screenplay: Lucy Alibar, based upon the novel by Delia Owens

Cinematography: Polly Morgan

Production design: Sue Chan

Editing: Alan Edward Bell

Music: Mychael Danna

Main cast: Daisy Edgar-Jones, Taylor John Smith, Harris Dickinson, Michael Hyatt, Sterling Macer Jr., Jojo Regina, Garret Dillahunt, Ahna O’Reilly, David Strathairn

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IMAGES

Movie Review: Where the Crawdads Sing
‘Where the Crawdads Sing’ review: Overblown and tedious Southern drama
‘Where the Crawdads Sing’ Movie Title and Meaning Explained
'Where the Crawdads Sing' (2022)
Where the Crawdads Sing Movie Review
Movie Review: Where The Crawdads Sing

COMMENTS

Where the Crawdads Sing Movie Review
Parents need to know that Where the Crawdads Sing is a romantic mystery/drama based on Delia Owens' bestselling 2018 novel. It's set in the coastal marshes of 1950s-'60s North Carolina, where young Kya is dubbed "Marsh Girl" because she lives in near-complete isolation. As a young adult, Kya (Daisy Edgar….
Where the Crawdads Sing (2022)
Where the Crawdads Sing: Directed by Olivia Newman. With Daisy Edgar-Jones, Taylor John Smith, Harris Dickinson, David Strathairn. A woman who raised herself in the marshes of the Deep South becomes a suspect in the murder of a man with whom she was once involved.
'Where the Crawdads Sing' Review: A Compelling Wild-Child Tale
"Where the Crawdads Sing" is at once a mystery, a romance, a back-to-nature reverie full of gnarled trees and hanging moss, and a parable of women's power and independence in a world crushed ...
Where the Crawdads Sing
Rated 4.5/5 Stars • Rated 4.5 out of 5 stars 08/31/23 Full Review Brandon Richardson For the genre/type of movie, it is, Where the Crawdads Sing is pretty decent. Daisy Edgar-Jones was the ...
'Where the Crawdads Sing' Review: A Wild Heroine, a Soothing Tale
July 13, 2022. Where the Crawdads Sing. Directed by Olivia Newman. Drama, Mystery, Thriller. PG-13. 2h 5m. Find Tickets. When you purchase a ticket for an independently reviewed film through our ...
Where the Crawdads Sing movie review (2022)
For a film about a brave woman who's grown up in the wild, living by her own rules, "Where the Crawdads Sing" is unusually tepid and restrained. And aside from Daisy Edgar-Jones ' multi-layered performance as its central figure, the characters never evolve beyond a basic trait or two. We begin in October 1969 in the marshes of fictional ...
Daisy Edgar-Jones in 'Where the Crawdads Sing': Film Review
Where the Crawdads Sing is the kind of tedious moral fantasy that fuels America's misguided idealism. It's an attempt at a complex tale about rejection, difference and survival. But the film ...
Where the Crawdads Sing review
The film, like the book, proceeds on two timelines, the latter being a swampy mystery in 1969: who, if anyone, killed Chase Anderson, the (relatively) rich kid of Barkley Cove, North Carolina ...
'Where the Crawdads Sing' review:
Placing Daisy Edgar-Jones under the spotlight, "Where the Crawdads Sing" serves up a virtual symphony of chords - adapting a bestselling book that's part wild-child tale, part romance ...
Movie Review: Where the Crawdads Sing
Movie Review: In Where the Crawdads Sing, a film adaptation of Delia Owens's runaway bestseller, a young North Carolina woman who's lived away from society is accused of murder. Daisy Edgar ...
Where The Crawdads Sing Review: Gorgeous Visuals Clash With
The gorgeously-shot movie is incredibly faithful to the book and will no doubt delight those who have eagerly devoured its pages. However, as a movie, Where the Crawdads Sing stumbles a bit in its transition from page to screen, though it is aided by a great lead performance. Picking up in 1969, the sleepy town of Barkley Cove, North Carolina ...
'Where The Crawdads Sing' review: A faithful if unfulfilling adaptation
"Where the Crawdads Sing" is set on the North Carolina coast in the 1950s and '60s, threading romance and murder mystery through the life story of a young, isolated woman, Kya, who grows up ...
Where the Crawdads Sing Review: Bestseller Becomes Glossy Summer Movie
It's just a shame the story's ultra-predictable ending is presented in a way that denies us the full potential of Edgar-Jones' performance, as Newman opts for hair-raising inference over ...
Where the Crawdads Sing (film)
Where the Crawdads Sing is a 2022 American mystery drama film based on the 2018 novel of the same name by Delia Owens.It was directed by Olivia Newman from a screenplay by Lucy Alibar and was produced by Reese Witherspoon and Lauren Neustadter. Daisy Edgar-Jones leads the cast, featuring Taylor John Smith, Harris Dickinson, Michael Hyatt, Sterling Macer Jr., Jojo Regina, Garret Dillahunt, Ahna ...
Where the Crawdads Sing
Kya Clark's Pa was a man of heavy-drinking, heavy-fisted ways. Because of that, Ma and Kya's siblings all left—one-by-one, in cuts and bruises—when she was but a little thing. And her Pa up and left not many years after. So, at about the age of 8, Kya was called upon to raise herself in that little shack deep in the marsh where the ...
Sing Movie Review
Sing. By Sandie Angulo Chen, Common Sense Media Reviewer. age 7+. Musical has great songs, slapstick laughs, mixed messages. Movie PG 2016 108 minutes. Rate movie. Parents Say: age 7+ 83 reviews.
'Where The Crawdads Sing' Film Review: Daisy Edgar-Jones In Novel
Where the Crawdads Sing came out of nowhere four years ago to become one of the best-selling literary sensations of all time. Written by the hitherto little-known Delia Owens, who was 69 when the ...
'Where the Crawdads Sing' review: Adaptation of Delia Owens's novel
Just like in the book, Where the Crawdads Sing juggles multiple timelines to tell the story of its protagonist Kya (Edgar-Jones). Abandoned by her family at a young age, Kya raised herself in the ...
'Where The Crawdads Sing': Review
Sony will release Crawdads on July 15 in the US and July 22 in the UK, the anticipation bolstered by the book's popularity. (Since the novel debuted in 2018, it has sold approximately 12 million ...
Where The Crawdads Sing Review
Where The Crawdads Sing is a strange case of a film made marginally more interesting by the circumstances of its creation. Part period romance and part legal drama, this oddly structured literary ...
Movie review: 'Where the Crawdads Sing' a faithful if unfulfilling
"Where the Crawdads Sing" is set on the North Carolina coast in the 1950s and '60s, threading romance and murder mystery through the life story of a young, isolated woman, Kya, who grows up ...

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