The Iron Claw – Review

Release Date – 9th February 2024, Cert – 15, Run-time – 2 hours 12 minutes, Director – Sean Durkin

As wrestling coverage changes in the early 80s, the Von Erich family struggle with the increasing pressure put upon them to be the best.

A casual game of football doesn’t exist in the Von Erich family. However much the four brothers would like that to be the case their father (Holt McCallany) is constantly on the sideline, or right next to them, shouting at them to be the best, the strongest, in the family, the state, the country, the world. What should be a fun throw-around is underpinned by the drama of not being good enough. It’s something the siblings struggle with throughout their lives, their father reminding them of who his favourite is as he once again lists his ranking of his sons at the breakfast table. As the 80s arrive and wrestling coverage changes on TV the brothers find themselves under even more stress as they hurtle towards fame and heavyweight titles.

Our central perspective is Zac Efron’s Kevin – this is the kind of role Efron seems to have been searching for for a number of years now, and he knocks it out of the park – throughout this inspired-by-a-true-story tale. The biggest kick he gets out of wrestling, and life, is getting to spend time with his family – he tells girlfriend Pam (Lily James) on their first date that he’d love a huge house where everyone can live together, kids and grandkids. However, as each brother gets closer to their father’s goals the effects of the immense pressure weighing down on them are inevitably felt. They aren’t fighting with their opponent, or each other, but with themselves; with warring views on survival.

The second half brings many tough-to-watch sequences as events and decisions create a sense of fear as to where they might lead. Not just the physical toll which is made more than clear in the ring, but on the mental states of the characters too. We see, despite their exteriors, sometimes because of it – Jeremy Allen White’s Kerry starts to use steroids when it feels like he’s the only chance the family has at being the best – a weakening group, particularly in Harris Dickinson’s David. When we’re first introduced to Kevin his map of pulsing veins and muscles taking up the screen as he jumps out of bed to leap into morning exercise looks almost painful.

Even youngest sibling Mike (Stanley Simons), somewhat left behind in much of the build-up and first half of the film, gets his moment with one of the most affecting scenes; landing an emotional punch from a character with whom we don’t have a proper connection with for some time. It comes back to the firm Iron Claw pressing down on the Von Erich’s – a move created by their father which pins opponents down to the ground as they scream in pain until losing the match. While the film as a whole might feel slightly overlong it’s the heavier moments of drama showing just this in effect that keep you engaged. Especially in the knock-back emotional moments, contrasted well with a key moment of gentle peace in the later stages.

Throughout the consistent dramatic tension both in and out of the ring holds engagement and connection. It also means that the two worlds which should feel separate come across as very much the same, something which is acknowledged by the film and the eventual turns in the relationships between the Von Erich brothers, and more importantly their father. Through this themes of communication and expression, or rather the lake of it instead sticking to performances similar to wrestling personas, come through.

The family as a whole feel shut off from each other, and their feelings. When asking his mother (Maura Tierney) to speak to her husband about the pressure that is being put onto their children Kevin is simply told that that’s what his brothers are for, little change is made. When it comes to moments of tragedy her emotions remain restrained, leading to later feelings of increased pain later in the film, wonderfully shown in a scene between Tierney and James.

With the strong performances on display, and the ways in which they work together, The Iron Claw is the kind of film which ensemble cast awards should be for. The heavier drama and tragedy is well handed with plenty of effect, and a sense of fear worked well into such moments too. Everything comes together to create a compelling, if slightly lengthy, drama with a good deal working underneath the surface to increase the sense of pressure and need to be the best that is being put upon the central family.

A strong ensemble brings about plenty of knock-back effect to The Iron Claw, allowing for the pressure and tragedy to be felt without being overbearing. While it might feel slightly overlong its the way it handles its unfolding tale of performance and contradicting expressions which keeps you engaged throughout.