MPAA Rating: R/Genre: Biographical Sports Drama/Stars: Zac Efron, Jeremy Allen White, Harris Dickinson, Maura Tierney, Stanley Simons, Holt McCallany, Lily James, Michael J. Harney, Maxwell Jacob Friedman, Brady Pierce, Aaron Dean Eisenberg, Kevin Anton, Cazzey Louis Cereghino, Chavo Guerrero Jr., Ryan Nemeth, Scott Innes/Runtime: 132 minutes

I think it’s safe to start this review off by saying that if there was ever a sport that had more than its fair share of heartache and tragedy attached to it then the one that would definitely come to mind for this reviewer right away would have to be the sport that is professional wrestling (and not just because of Hulk Hogan’s acting ability or lack thereof). All jokes aside, there is also no denying that even though wrestling has had enough heartache to inspire a Ken Burns-style documentary, I don’t think there is a tale of more pain and heartbreak to be found in or out of the ring quite like the tale of the Von Erichs wrestling clan. Indeed for those of you who don’t know, the Von Erichs were/are a family of wrestling icons that could best be viewed as the wrestling world’s equivalent to quasi-sorta royalty or something to that effect. At the same time however, this was also a family that, for all of their strength and potential in the ring, was put through some of the most soul-crushing wringers imaginable outside of the ring. Suffice it to say that for a long time it looked like if the land of movie magic wanted to regale an audience with this family’s distinctly tragic yet quite expansive story then the best way to do so would have been in a documentary format (Morgan Freeman handling narration duties still something to be determined). Imagine my shock then to tell you that film helmer Sean Durkin has managed to do something quite incredible with the new slice of cinema I am reviewing for you today in the form of The Iron Claw. This is because while the marketing might make you think this is a slice of cinema in the biopic genre, this film is more content with giving us this story, telling it round for round, and showcasing it for us more like it is a tragic modern folktale than a true story. Yet even though there are some issues to be found with this particular slice of cinema, to say nothing of a few liberties taken here and there, that still by no means dilutes the impact it manages to hit you with square in the gut and heart with. I say that because, with the aid of top-tier work on both sides of the camera, The Iron Claw is definitely one film that yes is sad and yes will make you cry, but is just as undeniably one of the most powerful movies that I have had the privilege of seeing in some time.

The plot is as follows: Taking us back in time to the long-ago year of 1979 in Texas, The Iron Claw gets its riveting and potent narrative underway by introducing us to a family known as the Von Erichs. A family that, among other noteworthy attributes, is one that could best be described as wrestlers to their core (and even beyond come to think). Indeed this particular dynasty started with the patriarch of the clan, one Fritz Von Erich, who despite being more than moderately skilled as a fighter in his younger days was tragically never given the chance to “go the distance” and be awarded the title of champion. As a result, we see that at the time our story gets underway, Fritz has started both his own wrestling business and a family unit of his own, alongside wife Doris, to try and help him achieve his dream no matter what obstacles could potentially arise. The first, and oldest, son is Kevin; a young man who, despite being an extremely skilled fighter and with a vast amount of potential to go far in the world of wrestling is also not as charismatic as Fritz would like him to be and is thereby viewed with a wee bit of disappointment. Next in line is 2nd son David. A young man who is not only about to join the so-called “family business”, but who Fritz sees as perhaps the family’s best hope at a genuine wrestling champion. Alongside these two is 3rd brother Kerry who is off engaged in training for no less a competition than the Olympics only to find himself starting to take up wrestling alongside his brothers when circumstances of a political nature causes that particular dream to tragically be pushed to the side. Last of the Von Erich children is the baby of the family Mike. A young man who, despite being born into a family of wrestling maniacs, would much rather engage in the creative art of music much to his father’s derision and extreme disappointment. Of course, it isn’t long before this seemingly loving family will find itself being put through a series of horrific and heart wrenching tragedies due to what they collectively refer to as the “Von Erich Curse”. Yet even though these tragedies will not only shake them, with a particular emphasis on Kevin, to their respective cores, they’ll also do something else as well. Namely they will begin to show that perhaps the real curse isn’t what they have been led to believe it to be. As for what it turns out to be to say nothing of the impact that it has on this family that I will leave for you to discover for yourself….

Now right off, it is worth noting that the work done behind the camera on this particular cinematic rumble might have a few issues here and there, but it still manages to be quite solid all the same. Key among the aforementioned collection of issues is the work done on this film’s screenplay by Sean Durkin (who also helmed the film). This is because, for all of its positives, the screenplay for this film is guilty of trying to go through quite a bit in respect to both the character roster and how much time is being covered here. As a result, not only are certain moments that should be nothing short of impactful just brushed past, but even certain characters are reduced to certain cliches despite their portrayers doing a great job in the respective part. Yet even though the screenplay has issues when it comes to achieving its goals, it nevertheless is quite riveting in terms of its framework which gives the film two distinct halves. As a result, we see in the first half that the camera lets our bro squad in this just act like regular people. Thus, we see that by doing so, the characters are permitted to become three-dimensional in a way that helps them to be distinguishable beyond the horrific chain of calamities that will befall them. It also doesn’t hurt that there is a realistic and very tender back and forth shared by Dickson, Efron, and Simons in these moments that really makes us believe that these guys are legit brothers rather than guys who just met on set that day. Even so, we see that Durkin does a wonderful job of inserting a solemnly poignancy into even these happy moments due to the overarching presence of family patriarch Fritz since it is a volatile mix of his attitude and consistent authority over how these boys act which makes us aware that this peace, as much as we would like it to, will not last. It is because of this that the 2nd half, when things are really going downhill for the family, is able to make the necessary impact. To be sure, Fritz’s parenting skills don’t really make these tragedies all that surprising. Even so though, it is still very soul-crushing and tear jerking to see these boys go through the absolute wringer and then some. A wringer that is only magnified due to how the filmmaking team engages in restraining themselves in showcasing these heartbreaking moments. Even with that restraint in place however, there is no denying that this slice of cinema is presented in a riveting visual format that puts a focus on single-takes and wide shots that are meant to stay with you for a while. As a result, we see that this visual style is able to bring a poignant quality to what we witness in this film with particular regard to one nighttime dialogue between Kerry and Kevin that occurs after a good day’s work for the family. We also see that this visual flair is also effective at creating quite the on-point juxtaposition to the scenes with the Von Erichs in the ring. Indeed there is a manic energy present that is a wonderful contradiction to the ominously silent moments where this family finds themselves battling opponents far greater than those in the ring. Suffice it to say that, when you also factor in a wonderful musical accompaniment from Richard Reed Parry, even though this film might take a few hits when it comes to its utilization of typical biopic elements you have seen time and time again, the work done behind the camera nevertheless is still able to succeed in achieving quite the KO due to its phenomenal skill in showcasing the immense divide between who this family was in the public eye and the deeply rooted psychological conflicts they faced behind closed doors.

Of course, the other component that helps to make this slice of cinema as much of a gut punch as it turns out to be would have to come in the form of the truly magnetic performances given by the cast of players in front of the camera. Without question this starts with none other than Zac Efron who, in the role of Kevin, manages to give quite the remarkable performance. Not just in terms of physicality because Efron definitely did his homework and then some there. Rather, it’s because of what he is able to bring to a character that could’ve just been a one-note individual in the wrong hands actor-wise. This is because to portray this distinct individual one must be able to play a guy who is unknowingly more an empty shell than a flesh and blood human being like you or me. Not because he wants to be, but because it’s what his dear ol’ dad demands him to be. Fortunately, we see that Efron is able to work such wonders with the part that he is not only able to showcase that aforementioned quality in a manner that is tearjerkingly realistic, but is also able to present to the viewer just what kind of impact the repeated trauma bestowed on him by his father’s machinations has on him and his wellbeing over time. Suffice it to say that this is easily one of the most powerful turns that Efron has ever given and I hope we get to see more like this in his future as an actor. Fortunately, we see that by no means is Efron left all on his own to do the heavy lifting for this particular slice of cinema from an acting perspective. I say that because he is backed up here quite admirably by a collection of talent that all bring their collective A-game to this project as well. This definitely starts with Jeremy Allen White (Lip from Shameless) who, in the role of Kerry Von Erich, easily has the most potent arc in the film and just as easily knocks it out of the park. Indeed, without going into spoilers, I think it can be said that Kerry was far and away the most afflicted of the brothers and in his portrayal of this genuinely tortured soul White not only delivers a knockout of a performance, but one that I can promise you will most assuredly elicit at least 1-10 tears out of you by the end. Suffice it to say that White is a dynamic performer and I look forward to seeing where his career goes from here. Now in the roles of Mike and David Von Erich, we see that whilst Harris Dickinson and Stanley Simons don’t have near as much in the way of screentime as the other two, they still manage to give performances that are both just as riveting and tearjerking all the same. Finally, we also get a intriguingly nuanced turn here from iconic character actor Holt McCallany in the role of family patriarch Fritz. Indeed, this is a very difficult role to play because he can’t be too sympathetic yet he also can’t be too much of a monster in the eyes of his boys either despite his actions dictating otherwise. To that end, McCallany does a wonderful job of walking this distinct tightrope in such a way that while you do wind up despising the character, you are also able to see moments where you see how his boys might think he genuinely did love and care about them.  Suffice it to say that when you also incorporate into the mix some solid support work from such talents as Lily James, Maura Tierney (especially in a scene that will destroy you on the inside), Michael J. Harney, Aaron Dean Eisenberg, Brady Pierce, and Ryan Nemeth to name but a few it’s clear that this film might have some issues, but the work done by the cast is by no means a phantom punch.

All in all and at the end of the day is The Iron Claw a perfect cinematic smackdown? Sadly it is not though not for lack of effort by any stretch of the imagination. Having said that though, is this the worst cinematic smackdown dealing with pro wrestling since 2000’s Ready to Rumble? Thankfully no though in all fairness that’s not exactly the hardest cinematic smackdown to give a chair straight into the back of. All jokes aside dear reader, there is no denying that whilst this slice of cinema is a genuinely great movie it is also without question one that will leave you using more than a couple of boxes of Kleenex throughout it as well so just be ready for that. Even so though, credit to this movie for ensuring that those tears you feel sliding down your cheeks are by no means ones that are coerced out of you utilizing Hollywood trickery. Rather, each and everyone of them will feel like the pile driver to the head and punch to the gut that they are meant to be. Suffice it to say then that if this sounds like a story that might be a too much for you (and trust me when I say that this story does get extremely heavy) then no hard feelings whatsoever. I’m sure, as the brilliant Lemony Snicket has been known to say a time or two, that The Littlest Elf is still playing over in one of the screens right across the way from this one. If on the other hand you are someone who is ok with an emotionally decimating narrative and work done both behind and (especially so) in front of the camera then you’re very much where you’re meant to be. Anyway you look at it however dear reader, it might have a few missteps here and there, but with the aid of riveting work on both sides of the camera The Iron Claw is not only a slice of cinema that I consider to be something truly special. Rather, it is no more or less than a heart wrenching and poignant cinematic experience that is easily one of the rawest and most moving that I have had the pleasure of seeing this year. Make of that what thou will. On a scale of 1-5 I give The Iron Claw “2023” a solid 4 out of 5.