| Columbia Pictures Corporation | Release Date: July 15, 2022 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
9
Mixed:
25
Negative:
12
|
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Critic Reviews
If the film leaned all the way into its melodrama, it could have been something different: the rare mainstream, studio-produced summer romance made for female audiences, with rich imagery worthy of the big screen. But its source material’s blemishes were always going to be hard to avoid.
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Where the Crawdads Sing is recommended, and part of me liked it. But I confess to feeling a bit bored and, surprising even to myself, a bit disappointed that the filmmakers, in the quest to honour Owens’ book, created something without a single surprise in casting, setting or anything else.
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All the buzz and talent around a tale that’s sold more than 12 million copies can’t thoroughly mask a sometimes corny, often clunky script, even if most of the lines are delivered by Daisy Edgar-Jones, whose poignant, grounded lead performance is the distinguishing highlight of the enterprise.
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Where the Crawdads Sing is shallow, predictable and just broad enough that you can understand why it sold so well as a half-lurid paperback. Newman’s work adapting it makes its derivative elements as obvious as a bad accent, but its chart-topping, tone-deaf mediocrity is faithfully replicated.
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The PlaylistJul 12, 2022
There is minimal tension in spite of clear stakes, but because we never get closer to Kya than arm’s length, it never seems like she’s in any real danger. We are meant to side with her and empathize with her as the abused, underdog outsider in that fact of character alone. Nothing appears to simmer below the surface, and everything rings hollow because of it.
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The IndependentJul 22, 2022
Does the fact the film largely ignores the book’s treatise on nature and virtue absolve it of all connections to Owens’s real-life controversies? It certainly doesn’t, on an artistic level, improve what’s already contained on the page. Newman’s vision of rural South Carolina is scrubbed so clean you might as well call it #swampcore – the Spanish moss looks bright and pristine, the flower petals on the water almost consciously arranged.
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while director Olivia Newman (First Match) and screenwriter Lucy Alibar (Beasts of the Southern Wild) retain the book’s breathless, beach-read momentum — sudden violence! love triangles! plot surprises! incredibly photorealistic sketches of shells! — there doesn’t seem to be much of a spark in the engine powering these narrative turns. Can a movie be both hyperventilating and lackluster at the same time?
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The GuardianJul 12, 2022
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