WHERE THE CRAWDADS SING (15)

I have no idea whether freshwater crayfish - or crawdads as they are sometimes called in communities surrounding the Appalachian Mountains - sing in real life, as suggested by the lyrical title of Delia Owens' international bestseller.

Caterwauling crustaceans are surely the preserve of Disney animations.

However, I do know that director Olivia Newman's slow-burning film adaptation is off-key for protracted periods of its languid two-hour running time despite a solid central performance from Daisy Edgar-Jones and ravishing cinematography courtesy of Polly Morgan.

Threaded with timely issues of domestic violence and female empowerment, Where The Crawdads Sing struggles to generate dramatic momentum or suspense as a much-abused protagonist goes on trial for murder in a North Carolina courthouse which routinely doles out death sentences.

The stakes should be nail-bitingly high but our cuticles never comes under threat from Lucy Alibar's script, which oscillates leisurely between events in 1953 and 1969 to establish cycles of violence and shame in an untameable place where every creature does what it must to survive.

Normal People star Edgar-Jones masters a Southern American accent as she imbues her social outcast with steely determination, she refuses to beg for her life, while exposing chinks of vulnerability in her emotional armour.

"Sometimes I feel so invisible, I wonder if I'm here at all," she tremulously confides to a friend, who tenderly assures her that she is seen.

Her richly textured portrayal of self-reliance under duress exceeds the modest reach of Alibar's pedestrian screen adaptation, which crams the trial verdict, teary-eyed declarations and a glaringly obvious twist into a hurried final act.

Catherine "Kya" Clark (Edgar-Jones) learns to fend for herself from the age of six in a ramshackle house on marshland where her father (Garret Dillahunt) routinely beats her mother (Ahna O'Reilly) until the bruised matriarch leaves, followed by Kya's older siblings.

Cruelly ostracised by residents of the nearby coastal town of Barkley Cove, Kya sells sacks of hand-harvested mussels to shopkeeper Jumpin (Sterling Macer Jr) and his wife Mabel (Michael Hyatt) to put food in her belly.

She also channels an enduring fascination with wildlife into writing and illustrating a book.

A touching romance with nice guy Tate Walker (Taylor John Smith) ends when he head to college then Chase Andrews (Harris Dickinson) courts her in direct opposition to his mother (Jerri Tubbs).

When Chase is found dead at the base of a rusty fire tower, the finger of suspicion points at Kya and lawyer Tom Milton (David Strathairn) agrees to mount a robust defence.

Where The Crawdads Sing evokes an era of suffocating, traditional gender roles, when the concept of racial equality was still fresh on the lips of some sections of American society.

Apart from Kya, townsfolk including Tate and Chase are drawn to serve her overarching plot but don't leap off the screen as fully formed, morally complex characters.

A heartfelt new song written and performed by Taylor Swift over the end credits is the film's truest splash of swooning originality.

5/10

 

NOTRE DAME ON FIRE (12A)

On April 15, 2019, the Catholic cathedral of Notre-Dame de Paris on the banks of the River Seine caught fire during restoration work.

The medieval building suffered catastrophic damage, prompting a government-led plan to restore the tourist attraction to its original design in time for the 2024 Summer Olympic Games, which will be hosted in the French capital.

Celebrated filmmaker Jean-Jacques Annaud directs an incendiary action thriller that relives the events of April 2019 through the eyes of men and women, who put their lives on the line to save the Parisian cathedral.

Using archive footage and previously unseen images as a template, Notre Dame On Fire recreates the efforts of firefighters to contain the blaze on huge sets rebuilt in stunning replica.

The film highlights the struggle to quickly shepherd personnel and equipment through rush-hour Paris traffic and juxtaposes heroics inside the cathedral with events in surrounding streets over the course of 24 hours, ending at sunrise on April 16.

7/10

 

KURT VONNEGUT: UNSTUCK IN TIME (15)

Indianapolis-born author Kurt Vonnegut gate-crashed mainstream culture with the publication of his acclaimed 1969 anti-war novel, Slaughterhouse-Five.

In 1988, young filmmaker Robert Weide wrote a letter to Vonnegut, proposing an intimate documentary about the writer's life.

Over the years, the director and his literary idol formed a close bond that extended beyond their intended decades-in-the-making feature.

Co-directed by Don Argott, Kurt Vonnegut: Unstuck In Time paints a rich and vibrant portrait of the novelist and philosopher from childhood to his experiences during the Second World War, marriage, divorce and a meteoric rise in literary circles.

Blessed with a wealth of previously unseen footage, the documentary celebrates Vonnegut and Weide's friendship and the impact of the writer's legacy.

6/10

 

SHE WILL (15)

The Scottish Highlands provide a striking backdrop to a psychological thriller directed by award-winning filmmaker and artist Charlotte Colbert.

Produced by Italian horror maestro Dario Argento, She Will fixates on aging movie star Veronica Ghent (Alice Krige), who undergoes an unseemly trial by tabloids after a double mastectomy.

Enveloped in bandages, Veronica chooses to escape media speculation about her post-surgery condition by attending a rural retreat with her long-suffering nurse Desi (Kota Eberhardt).

Unfortunately, any thoughts of tranquil recuperation are banished when Veronica and Desi discover their cabin sits on land where artist Tirador (Rupert Everett) runs group activities for like-minded aesthetes.

Unpleasant brown sludge repeatedly seeps into Veronica's sanctuary and she is haunted by memories of one of her earliest screen roles, performing for director Eric Hathbourne (Malcolm McDowell) at the age of 13.

6/10