The Marsh King’s Daughter (2023)

• Year: 2023
• Released: 03 Nov 2023
• Country: United States
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• IMDb: https://www.imdb.com/title/tt8002382/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_marsh_kings_daughter
• Metacritics:
• Available in: 720p, 1080p, 1080p
• Language: English
• MPA Rating: R
• Genre: Crime, Drama, Mystery
• Runtime: 108 min
• Writer: Elle Smith, Mark L. Smith, Karen Dionne
• Director: Neil Burger
• Cast: Daisy Ridley, Ben Mendelsohn, Brooklynn Prince
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	6.0/10
	38% – Critics
	74% – Audience

The Marsh King’s Daughter Storyline

In the tense thriller The Marsh King’s Daughter, a woman with a secret past will venture into the wilderness she left behind to confront the most dangerous man she’s ever met: her father. In the film, Helena’s (Daisy Ridley) seemingly ordinary life hides a dark and dangerous truth: her estranged father is the infamous Marsh King (Ben Mendelsohn), the man who kept her and her mother captive in the wilderness for years. When her father escapes from prison, Helena will need to confront her past. Knowing that he will hunt for her and her family, Helena must find the strength to face her demons and outmaneuver the man who taught her everything she knows about surviving in the wild.—marimarcta

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The Marsh King’s Daughter Movie Reviews

Ridley and Mendelssohn make this worth watching

If you’ve seen 2022’s Where the Crawdads Sing, you’ll probably have feelings of deja vu watching The Marsh King’s Daughter, at least initially. While The Marsh King’s Daughter also shares an equally deep affection for the backwoods, the tenor of these movies couldn’t be more different. Whereas Crawdads was an unabashed romantic melodrama, this movie is a suspense thriller. In that regard, Marsh King is unsurprising and familiar, but did remind me of the similarly themed (and much better) Leave No Trace.

While nothing spectacular as a movie, Marsh King does have solid performances from Daisy Ridley and Ben Mendelssohn working in its favor. How interesting it is to see these Star Wars alumni outside of the blockbusters they’re known for. (Mendelssohn also played a significant role as the member of the Skrull race in the Marvel Cinematic Universe.) Ridley’s performance here shows why she was chosen for the role of Rey in the first place. As Helena, she’s able to bring out the character’s fearlessness and determination, with underlying notes of empathy and sensitivity. She’s undeniably an engaging action movie heroine. As Helena’s father, Mendelssohn is casually devious and a perfect villain. The moment he smiles his insinuating smile, you know for sure you can’t trust him and that he’ll probably kill you. Together, the two make the movie worth watching, reminding us how good they are when they play normal, Earthbound characters. Mildly Recommended.

Detroitcineaste dot net.

childhood vs adult perspective

Greetings again from the darkness. Karen Dionne’s 2017 bestselling novel is the source of this film from director Neil Burger (THE ILLUSIONIST, 2006), and it has been adapted for the screen by co-writers Elle Smith and Mark L Smith (THE REVENANT, 2015). Having not read the book, I am unable to offer a comparison, however, it’s probable that the film moves at a faster pace and that the book fills in much detail that the two-hour runtime is forced to skip over. Typically, neither of this would result in an improvement, yet the performances are strong enough to generate enough tension and suspense to satisfy most viewers (if not the book’s fans).

Opening with some very cool shots through the marshlands, the story takes us deep in the forest as a father (Ben Mendelsohn) teaches survival skills to his 10-year-old daughter, Helena, played by Brooklynn Prince who was so memorable in THE FLORIDA PROJECT (2017). One of the lessons ends with the father proclaiming, “You must always protect your family.” Sure, it’s about as obvious as foreshadowing can get. There is a level of creepiness to the off-the-grid cabin living of Jacob, his daughter Helena, and Helena’s mother (Caren Pistorius, SLOW WEST), and once we realize the situation, it leaves us wishing we had experienced a bit more of the misery and fear that will ultimately determine the future of these three people (plus some others).

We then flash forward twenty or so years, and find a grown-up Helena (Daisy Ridley) married to Stephen (Garrett Hedlund, MUDBOUND) living a comfortable suburban life as they raise their young daughter Marigold (Joey Carson). Helena has chosen not to tell Stephen her past, and that secret comes crashing down when her father Jacob (known as The Marsh King) escapes from jail and comes looking for her. Father and daughter reunite as the old cabin in the woods, and things go a bit bonkers; however, that earlier foreshadowing comes into play, and Helena finds herself utilizing those early daddy lessons against that same daddy.

Daisy Ridley has the physicality required to pull off this role and her resemblance to young Brooklynn Prince is uncanny. Mendelsohn is, as always, a menacing presence using subtle movements and that remarkable voice. A supporting nod goes to Gil Birmingham (HELL OR HIGH WATER, 2016) for a key role as well. At its best, the film (and I assume the book as well) captures the sometimes remarkable contrast between childhood perspective and that of a grownup. We can only hope that for most folks, it’s not similar to that of Helena.

Opening in theaters on November 3, 2023.

Engaging, tense and beautiful

(Disclaimer: I did not read the book)

This is an engaging, beautifully shot, story that keeps you on your toes and doesn’t overstay it’s welcome.

Story wise it avoids many of the clichés it’s genre usually indulges in, which was refreshing and kept me engaged throughout.

The acting is great specially from Daisy Ridley, who was the emotional leading force of the movie with a understated but emotional performance. Ben Mendelsohn and Brooklynn Prince also gave great performances.

The cinematography is gorgeous, with beautiful landscapes and tense editing. The sound design is also a standout for me by keeping the tension up with a unusual sound identity and being very environmentally immersive.

I would say, however, the movie could have explored some characters a bit more and could have benefited from some extra 5 to 10 minutes of runtime (since I found the end a bit abrupt).