Movie Reviews
The Iron Claw review: Zac Efron stuns in this soulful wrestling drama
The father, a mouthy, aggressive leader – determined to win, destined to fail – promises his boys the world. In return, they’ll do something he never could. By 1984, one of the lads has achieved dad’s dream, taking home a National Wrestling Alliance World Heavyweight Championship belt. By 1993, dad has lost five out of six of his sons. If The Iron Claw wasn’t based on real events, you’d ask for your money back.
Not since Darren Aronofsky’s The Wrestler has a mainstream sports picture worked this hard to make us cry. Hardcore wrestling enthusiasts will know the tragic Von Erich family tale inside out; the rest of us will figure it out as it goes along.
Like all the best sports features, however, Sean Durkin’s film doesn’t necessarily require an interest in the protagonists’ pastime. Durkin’s film is loaded with testosterone and boasts its fair share of brutal body slams and painful choke manoeuvres. But it’s not about what happens inside the ring; it is, instead, the devastating story of a family who forgot to look out for one another.
We begin in 1970s Texas where a young Kevin Von Erich (a tremendous Zac Efron), convinces his father, Jack ‘Fritz’ Von Erich (Holt McCallany), that he’s ready for the big time.
Jack, a retired wrestling champ who wishes he’d done more with his time in the ring, is a successful promoter with World Class Championship Wrestling. Most of the Von Erich boys idolise their old man, and dad has made it his mission to turn every one of them into superstar athletes.
Coming up behind Kevin is David (Harris Dickinson), a talented fighter with a flair for the dramatic. Kevin is a great wrestler, but he struggles with social interactions. David is a natural showman, and so Jack encourages them both to fight together. Meanwhile, a younger sibling, Mike (Stanley Simons), dreams of becoming a professional musician, but Jack won’t allow it.
When Kevin fluffs his chance at a world title, his dad switches things up. First, he focuses his attention on David; next, he enlists Kerry (Jeremy Allen White), the favourite son, to form a tag team with the others. Within time, the mighty Von Erich siblings begin to make a name for themselves.
Their mother, Doris (Maura Tierney), prefers not to be included in the family business. Likewise, Kevin’s girlfriend, Pam (Lily James), wonders how much, exactly, is real in the complicated world of professional wrestling (a fair question which the film never properly answers).
There is more. Kevin worries about a so-called family ‘curse’ that claimed the life of his eldest brother, Jack Jr, when they were children. Is he imagining things, or are the Von Erich men really cursed? The way Durkin’s film moves in its second half, you wonder if Kevin might be on to something.
Mr Durkin doesn’t cover everything. There was another Von Erich brother, Chris, but The Iron Claw’s writer-director decided not to include him in the final screenplay as he says it was “one more tragedy that the film couldn’t really withstand”.
It’s only after watching this profoundly moving film that you’ll understand Durkin’s reasoning. The Iron Claw packs a powerful punch. The wrestling sequences are masterfully staged, beautifully shot and brilliantly performed.
Away from the ring, however, Durkin does not make things easy for his audience. You’ll barely have time to wrap your head around one harrowing incident when another occurs, then another, and I sometimes worried if the film – undeniably effective, if a little untidy in parts – could bear the weight.
Phenomenal performances help. White is excellent as a tortured young athlete who struggles to communicate the thoughts inside his head. McCallany devotes himself entirely to the role of a toxic patriarch who believes his signature move, ‘the Iron Claw’, to be his most devastating. It isn’t – instead, it is his ability to make his sons feel like they’re never good enough.
Kevin is the only one who questions his dad, and this is where Efron shines. A transformative role, in more ways than one, Efron’s soulful, muscular turn stunned the hell out of me, and the committed Californian has never been as good as he is here. Brace yourself for heartache.
Four stars
Movie Reviews
Chhaya Kadam: Earlier my name wouldn’t even be written in film reviews, now I have a Grand Prix winning film at Cannes
This is clearly the year of Chhaya Kadam! After a great run with the actor’s earlier releases, Laapataa Ladies and Madgaon Express, her film All That We Imagine As Light became the first Indian film to win the Grand Prix at the recently concluded 77th Cannes Film Festival. One of her other films, Sister Midnight, was also screened at Directors Fortnight. Talking to us after the Grand Prix ceremony, Kadam exclaims, “It was the first Indian film to be screened at the main competition in 30 years, and we directly won an award! We had a story rooted in our motherland about women like us. For a subject like that to get selected here… I have no words.”
Acknowledging her great run this year, she says, “People in Cannes also recognised me as Manju Mai (from Laapataa Ladies); they would say, ‘hey Manju Mai, Chhaya Kadam’.”
Kadam’s tryst with acting began in 2006, then she went on to star in Marathi films such as Fandry (2013), Sairat (2016) and Nude (2018). “Earlier, my struggle was to get work; now it is for good work,” she shares, adding that it doesn’t end there. While she’s enjoying the fame now, there was a time when the actor’s work wasn’t recognised. “Earlier, film reviews would miss out on mentioning my name, even if my character was important. Bura toh bahut lagta tha. But then I thought I should work so hard that people are compelled to mention my name in their reviews,” she ends with a chuckle.
Movie Reviews
Ezra (2024) – Movie Review
Ezra, 2024.
Directed by Tony Goldwyn.
Starring Bobby Cannavale, William A. Fitzgerald, Robert De Niro, Rose Byrne, Vera Farmiga, Whoopi Goldberg, Rainn Wilson, Tony Goldwyn, Jackson Frazer, Greer Barnes, Tess Goldwyn, Ella Ayberk, Lois Robbins, Alex Plank, Daphne Rubin-Vega, Matilda Lawler, Joe Pacheco, Amy Sheehan, Barzin Akhavan, Donna Vivino, Jacqueline Nwabueze, John Donovan Wilson, Joshua Hinck, Sophie Mulligan, Thomas Duverné, Guillermo Rodriguez, and Jimmy Kimmel.
SYNOPSIS:
Comedian Max co-parents autistic son Ezra with ex-wife Jenna. Faced with crucial decisions about Ezra’s future, Max and Ezra go on a life-changing cross-country road trip.
Undeniably made with good intentions, Ezra wants to tell a story about a young autistic boy and his father struggling to accept that uniqueness (lamenting that his son will never be “normal”) due to some personal baggage related to his rocky upbringing. Ezra is also a film that consistently gets sidetracked or finds itself telling that story in a broad, mawkish manner with outlandish plot beats that continuously sink the few elements that work. That’s also surprising considering screenwriter Tony Spiridakis (who had been working on the script for roughly 15 years) is basing that father-son relationship on his experience raising an autistic child. Why turn such personal material into… this?
A film about the challenges of parenting an autistic child and ensuring that everything from school to public behavior is going well has enough realistic, stressful drama to be relatable to anyone who has ever been in a similar situation. The dynamic that parents Max (Bobby Cannavale) and Jenna (Rose Byrne) are divorced (the actors are married with children in real life) adds another layer of domestic intrigue.
Directed by Tony Goldwyn, the film seems to have no awareness of when to stop manufacturing more drama or when it begins to feel like piling on for the sake of telling a story that quickly begins to feel false. It becomes less of an earnest look at autistic childhood and more of a far-fetched road trip flick where the logic for certain characters is nonexistent, and the narrative rapidly transitions to do something that could only exist in the movies, something that is counterproductive to why this film was made.
This is frustrating since there are touching flourishes whenever Max interacts with the titular Ezra (William A. Fitzgerald, a delight to watch and autistic). Despite getting expelled from school, Ezra is a kind soul with various stimulation triggers (such as hugs or sensitivity to eating with forks), who often speaks in famous quotes and takes everything literally to such a degree that when he overhears Jenna’s new partner jokingly talking about murdering Max, he frantically runs out of the house to warn his loving father. This leads to Ezra making the choice to run into the middle of the street while scared and avoiding a barking dog on the sidewalk, nearly getting hit by a car, with doctors under the impression that it was a suicide attempt, dealing with the incident by forcing the parents to put the boy into a special needs school and take antipsychotic medication.
That’s only the beginning of this exaggerated story, which then sees Max kidnapping his son from Jenna, believing that she has lost hope in fighting for his rights and is too comfortable listening to professional advice. He doesn’t like that the medication zombifies his son (understandably so) and appears to believe that allowing the boy to go to a special needs school means he is accepting that there is something wrong. Many of his hangups with accepting his son’s autism come from a tumultuous relationship with his father, Stan (Robert De Niro), a former chef who gave up his dreams to provide for Max after his mother left. This grandfather also has trouble acknowledging his grandson’s autism, uncomfortable uttering the term. Both of these men, in a sense, are hiding and running from reality.
Perhaps a more skilled filmmaking team could make something out of that, but Ezra also has to contend with baffling subplots such as Max’s aspiring standup comedian career and his relative closeness to securing a spot performing for Jimmy Kimmel. There is also a road trip aspect that sees Max heading West with Ezra, coming across several old friends for the sake of convenience. In one sequence, the film makes the case that there will be kids (even girls) who accept Ezra and those who will bully him, doing so in a confused way, unsure if it wants to sanitize itself. It’s also accompanied by sappy music.
At a certain point, Ezra is officially reported as kidnapped with warnings and notices throughout the 24-hour news cycle. Max is aware of this, yet confoundingly still thinks showing up to audition for Jimmy Kimmel will end well. The occasional tender moments between father and son are continuously undercut by this stupidity and overblown narrative decisions. At least it follows suit, ending in a fittingly melodramatic cringe.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
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