Greetings again from the darkness. This is the kind of movie that requires upfront disclosure: have you read the book or not? Since it was number one on New York Times best seller list for 2019 and 2020, and remained on the list for almost three years, it’s a legitimate question and likely the driving force behind Reese Witherspoon producing the film. I have not read the book and came in with only a few preconceived notions, and enough background information to make it more interesting, not less. This is director Olivia Newman’s first film since her debut FIRST MATCH (2018), and Lucy Alibar (BEASTS OF THE SOUTHERN WILD, 2012) adapted the screenplay from the enormously popular novel written by Delia Owens.
Kya Clark is the youngest child of Ma (Ahna O’Reilly) and Pa (Garret Dillahunt). We get a quick glimpse at their strained existence in the marshes of Barkley Cove, North Carolina in 1953, including the violent abuse administered by Pa. It doesn’t take long for her parents and siblings to abandon her, leaving young Kya (JoJo Regina) to fend for herself in what most would consider a harsh environment. But Kya becomes one with nature. Though illiterate, she draws and charts local bugs, bird, and water creatures, while scrounging out a meager living thanks to assistance from local black store owners, Jumpin’ (Sterling Macer Jr) and Mabel (Michael Hyatt).
Daisy Edgar-Jones (“Normal People”, FRESH, 2022) plays older Kya, the one townspeople refer to as “Marsh Girl”. Sensitive local boy Tate (Taylor John Smith) shares Kya’s interest in nature and teaches her to read and write … surely having little to do with her being the prettiest marsh girl you’ve ever seen. When Tate heads off to college, adding another to the Kya abandonment roster, she’s pursued by local rich boy Chase (Harris Dickinson). This becomes another in the film’s storylines when Chase turns up dead after a fall from a fire tower. Despite no footprints, no fingerprints, and very little evidence, Kya is charged with murder and faces the death penalty. A local nice guy attorney (David Strathairn) takes the case and shy, withdrawn Kya provides little help in her defense.
So let’s chat about what’s good and not so good. The Kya character is fascinating and certainly worthy of being the centerpiece of a story. There are similarities to other stories about those who were raised outside of society. NELL (1994) and Tarzan come to mind, but despite the marsh environment, Kya never is a wild creature, and only as a child do we see her dirty and unkempt. This is a flaw, as Kya should be more raw and primitive … at least until her mentoring by Tate. It’s a mystery how Kya is as smart and clean and refined as she appears, since it’s mostly just the store owners who provide even a dash of support. The structure of the film is decidedly fluid – bouncing from timeline to timeline and from story to story. This kind of structure requires superb writing, something that just isn’t in the cards. The courtroom drama and murder case against Kya are especially lightweight and sloppy. Most of it makes little sense and bears almost no resemblance to what an actual trial would look like. Instead, it’s slick for dramatic effect.
The cliches are to be expected, and Ms. Edgar-Jones is to be commended to making the most of a role that often requires her to sit with bowed head or gazing at nature. The narration is odd, with an inordinate number of words jumbled up to initially differentiate between a marsh and a swamp. The love story seems pulled directly from a romance novel, and in fact, that’s probably the best description of his, rather than a murder mystery. Chase and Tate are textbook examples of the extremes of men, and Kya’s Pa adds fuel to the argument that most men are experts at letting down women. Kya’s attention to nature and emphasis on survival instinct vs morality are used multiple times to guide us toward the ending, which evidently is supposed to be a twist reveal. Cinematographer Polly Morgan inserts some nice shots of nature, and the music from Oscar winning composer Mychael Danna (LIFE OF PI) is excellent. Taylor Swift’s new song, “Carolina” plays over the closing credits. It’s not likely a film that will win over anyone who wasn’t a fan of the book, but those devoted readers will surely be on board.
It should be noted that a story more interesting that what we see in the movie, is the real-life events of writer Delia Owens and her husband from their twenty plus years in Africa. This includes a murder case with some curious similarities to what she wrote about. If you are interested, track down the 2010 New Yorker article, “The Hunted”, researched and written by Jeffrey Goldberg.
Opens in theaters July 15, 2022
Posted by David Ferguson 
Greetings again from the darkness. Coming from the IFC Midnight stable, this first feature film from writer-director Charlotte Colbert and co-writer Kitty Percy, may be judged as a thriller or horror, depending on one’s perspective. By creating an ominous atmosphere, the movie highlights how certain events can grab hold and remain with us, often buried deeply, for our entire life. We don’t always know how these memories will manifest or how or when we deal with them, but if the scars remain, a reckoning likely follows.
Greetings again from the darkness. For proof that social media and the internet can be used for good, I offer as evidence this film from writer-director Dean Fleisher-Camp and co-writers Elizabeth Holm, Nick Paley, and Jenny Slate. The first ‘Marcel’ short film hit the internet in 2010 and was such a hit that there were two follow-up short films and a best-selling picture book. Now expanded to a feature length film of 90 minutes, the innovative and curious premise holds up due to the fully-formed character of a precious one-googly-eyed mollusk shell wearing … yes … shoes.
Greetings again from the darkness. If you are one of the many who need someone to cheer for – a nice person – in order for a movie to work for you, then this latest from renowned French director Claire Denis (BEAU TREVAIL, 2019) is going to be a challenge. Ms. Denis co-wrote the script with Christine Angot (they previously collaborated on LET THE SUNSHINE IN, 2017), an adaptation of Ms. Angot’s novel.
Greetings again from the darkness. Art, sex, drugs, rebellion, counterculture, and even death … that’s the infamous history of New York’s Chelsea Hotel. And for the last decade, it’s been about renovation and ongoing construction, and the persistence of a few long-time residents. Co-directors Maya Duverdier and Amelie van Elmbt deliver an unconventional documentary in that it doesn’t focus on the Chelsea’s iconic place in NYC history. It doesn’t focus on the idols who created art here. In fact, the history of the place takes a backseat to the current residents and the never-ending construction, neither of which are as entertaining as the legendary past.
Greetings again from the darkness. With a steady stream of Marvel movies and TV serials, maintaining coherent and connected storylines has become challenging. In fact, it’s probably best if fans take these at face value, rather struggling to connect the dots, only to end up frustrated. Perhaps no one understands this better than Taika Waititi, the director behind what many (including me) consider the best MCU film, THOR: RAGNAROK (2017). Waititi and co-writer Jennifer Kaytin Robinson once again embrace the blend of quick quip comedy and expected action sequences, supplemented this time a love story.
Greetings again from the darkness. He’s not an easy man to figure out. His many written and spoken words can be challenging to interpret, and his art comes in many forms: poems, novels, drawings, and songs. Leonard Cohen was an enigma, yet also a treasure trove of thought-provoking work crafted over fifty years. Collaborators for more than 25 years, documentarians Daniel Geller and Dayna Goldfine knew tackling Cohen as a subject would be too much, so by taking inspiration from Alan Light’s book, “The Holy or the Broken: Leonard Cohen, Jeff Buckley, and the Unlikely Ascent of ‘Hallelujah’”, they were able to approach him through his most recognizable and most oft-covered song, “Hallelujah.” The result is a captivating two hours that will appeal to Leonard Cohen devotees and enlighten those new to his work.
Greetings again from the darkness. Writer-director John Michael McDonagh (older brother of Oscar winner Martin McDonagh) has delivered a couple of fine movies in the past: CALVARY (2014) and THE GUARD (2011), and he’s never been one to shy away from controversial characters or topics. This time, he has adapted the 2012 novel from British writer Lawrence Osborne, and in this process, has continued his fascination with the all-too-human dark nature of some folks. Somewhat surprisingly, most of this is so obvious and blatant, only those who prefer thoughts be spoon-fed will appreciate the lack of subtlety.
Greetings again from the darkness. At this point, I believe it’s fair to say we have a Jane Austen sub-genre for film, TV, and books. After all, it’s been more than 200 years, and her novels have remained in print, have also been adapted too many times to count, and inspired countless writers and filmmakers to follow in her footsteps. The success of the “Bridgerton” series is a testament to the Jane Austen realm, despite being adapted from the novels of Julia Quinn. For this first feature film from director Emma Holly Jones, Suzanne Allain has adapted the screenplay from her own novel, and interestingly, this is a feature length version of Ms. Jones’ 2019 short film, with most of the cast and crew returning.
Greetings again from the darkness. Next up in this prime era for Superheroes comes “Green Ghost”, a struggling south Texas car dealer who moonlights as a Lucha Libre wrestler with untapped mystical powers linked to the Mayan Apocalypse! Does that sound preposterous? Sure it does. But really, is it any more ridiculous than Thanos’ Infinity Gauntlet? With an overall budget that was likely less than that AVENGERS powerful glove prop, writer-director Michael D Olmos and co-writers Charlie Clark and Brian Douglas deliver their version of a gently comical, semi-serious genre film saturated with martial arts moments and finding meaning in life. While certainly no cinematic masterpiece, what’s obvious about the film is that it was a labor of love … a true passion project.
