By January 2022, the book had sold 12 million copies, making it one of the best-selling books of all time. Almost everyone in the theatre, yesterday afternoon, had read the book and were wondering if the movie could be as good as the book, so in my exit poll, of a dozen, or so, viewers, I asked then specifically, “Did the movie do justice to the book?” Without exception they said it had. (Although one reader thought the movie had a more definitive ending than the book.) Their ratings were 8s, 8.5s and two 10s. When I said that anything I rated over 8 would be worthy of a rewatch, it was unanimous that all of them would rewatch it, some thinking they’d like to read the book, again. So, these people, who came to see the movie, had high standards that they felt were met. The story is simple but intriguing. There is a whole TO KILL A MOCKINGBIRD vibe to it. And there is a wonderful contrast between a purity of soul living within a world of threat and danger. It was refreshing to have a film celebrate innocence. The nature shots of North Carolina are breathtaking. The casting is spot on and the performances are flawless. But the success of the film lies with the lead actor, Daisy Edgar-Jones (a very talented Brit, who earned respect for her talents in another best selling novel adaptation for television, NORMAL PEOPLE). There is a wide eyed innocence about Kya that she captures which, in turn, captivates the audience to invest in her story and her plight. (The only disconnect I had with her portrayal was not her fault but that of the production. For a swamp girl, living off the grid, her personal hygiene and wardrobe were spotless and fitted to perfection. A seemingly unlikely possibility considering her environment.) I would definitely see this film again and am tempted to buy the audible book. I give this film an enthusiastic 9 (beautiful and touching) out of 10. [Drama]

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Daisy Edgar-Jones is really quite good in this adaptation of the Delia Owens story of a young girl left to her own devices in 1950s America. One by one her mother, siblings and finally her father abandon her to bring herself up. She takes to fishing for mussels in order to try to make ends meet, and is generally shunned by her community. Except, that is for her childhood friend "Tate" (a good effort too from Taylor John Smith) but when he leaves to go to college, she is exposed to the local Lothario "Chase" (Harris Dickinson). Turns out he is a bit of a wrong 'un for her, and when he is found dead at the bottom of a fire tower, she is prime suspect. What now ensues is a trial that provides us with retrospectives of the girl's childhood and her relationships whilst "Milton" (David Strathairn) organises her defence for a crime that might not even have been committed! The cinematography is gorgeous, the remoteness and intimacy of her existence is captured really well; as is the sense of isolation from her community as they look upon her as little more than an urchin. Smith portrays a decency to his character (he reminded me a lot of Joe Alwyn) and there are some touching performances from Sterling Macer Jnr. and Michael Hyatt as the closest thing the young girl has to family. Dickinson's accent is all over the shop, but he does manage to convince well enough as the rather duplicitous man who probably deserved his fate - however it actually happened. It is an interesting story, illustrating just how little by way of state infrastructure (or interference) there was in this young girl's life and how that empowered and endangered her in equal measure. DEJ delivers a strong and nuanced performance as the initially illiterate girl who was determined not be put upon and the story has a redemption that I found really fitting. The photography really does benefit from a cinema screen if you can.

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Split opinion on this. Overall, though, I think my thoughts regarding it are, just narrowly, positive. <em>'Where the Crawdads Sing'</em> is a tad overlong and I'm not sold on the ending, though even so I think I like this enough. The acting is the big reason for that, with Daisy Edgar-Jones standing out alongside David Strathairn. Taylor John Smith and Garret Dillahunt are solid elsewhere. Away from the actors, most other elements are forgettable. The conclusion is iffy to me. It was clear the film was holding something back in regards to the story, though the way it eventually goes isn't the most satisfying to me personally. It's a pretty straightforward film, when all is said and done. It's close to being what I'd consider a miss, but I reckon it just about does enough right. 6/10 doesn't feel fitting to me, so 7/10 it is.

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