The Iron Claw review: Zac Efron shines in Oscar-worthy film about tragic Von Erich family

Deeply moving sports biopic perfectly uses actor's talent and innate sweetness to great effect

Zac Efron as wrestler Kevin Von Erich in The Iron Claw. Photo: A24

Zac Efron’s career never quite hit the heights that he probably expected them to after starring in the hugely popular High School Musical trilogy. At that point, the remarkably handsome teenager was predicted to become one of the biggest names in Hollywood.

But even in Efron’s highest-grossing films – The Greatest Showman, Neighbors and Baywatch – he has pretty much played second fiddle to Hugh Jackman, Seth Rogen and Dwayne Johnson, respectively. At the same time, he’s also popped up in interesting smaller movies from renowned directors, such as Richard Linklater’s Me And Orson Welles, Harmony Korine’s The Beach Bum and Lee Daniels’s The Paperboy.

The Iron Claw might just be the film that makes Hollywood realise how dedicated, daring and talented Efron is. The deeply moving sports biopic perfectly uses Efron’s talent, his innate sweetness, and the fact that he never quite achieved what was envisioned for him – all wrapped up in a harrowing true story about the famed Von Erich wrestling family.

Efron plays Kevin Von Erich, the second eldest child of Jack “Fritz” Von Erich (Holt McCallany), the owner of WCCW. In 1979, Fritz trains Kevin and his third eldest son David (Harris Dickinson) to become wrestlers, while the fourth eldest Kerry (Jeremy Allen White) is destined to compete at the 1980 Olympics, and Mike (Stanley Simons) just wants to become a musician.

After Kevin falls for Pam (Lily James), Fritz tells her about the “Von Erich curse”, which started when his son Jack Jr died as a child. Subsequently, even though WCCW and the Von Elrich wrestlers start to have success, they experience personal tragedy that wrecks the family.

The Iron Claw might just be the most devastating movie of the year. It’s able to be so emotional because its incredible ensemble, each of whom give remarkable performances, establish a strong, brotherly bond. Writer and director Sean Durkin teases that terrible hardships are about to befall the family in a genuinely suspenseful and gripping manner.

At first, Kevin suggests that there’s an unknown, omnipresent threat overlooking the Von Erichs that could strike at any point. He explains that the curse began to inflict his family after Fritz changed their last name from Addison to Von Erich. But as the film goes on and more disaster befalls them, it’s clear there’s another reason this is happening, much closer to home.

While Durkin does a fine job flirting with themes of destiny, toxic masculinity, competitiveness and brotherhood, he also excels when it comes to the wrestling scenes. Thanks to the help of professional wrestler Chavo Guerrero Jr, who worked as the stunt consultant, these sequences feel energetic and authentic. Durkin also borrows directorial tricks from the likes of Raging Bull and The Wrestler to make it look as cinematic as possible.

Ultimately, though, The Iron Claw connects with viewers because of its performances. McCallany is remarkable as the increasingly sinister Fritz. White injects a much needed hope and then edge to the film as he nails Kerry’s arc and descent. And, despite the fact that she’s given only a few scenes to work with, Maura Tierney expertly portrays the heartache and stoicism of matriarch Doris Von Erich.

It’s Efron, though, who really carries The Iron Claw on his hefty shoulders. Especially as it stumbles to its knees in the final act, and the real-life events become so harrowing that it is hard to watch.

As The Iron Claw’s narrative flounders, Efron’s sincerity, earnestness and resilience ensure viewers continue to care deeply about how Kevin’s story ends. The result is one of the best performances of the year, hopefully leading people to either remember or recognise for the first time just how skilful Efron’s acting talents are.

Bring on the Oscar buzz.

The Iron Claw is now showing across the UAE