THE IRON CLAW*****

Sean Durkin's THE IRON CLAW is an absolutely mesmerising and deeply moving drama that tells the story of the real life Von Erich family. I had no knowledge of them before this film but apparently they are wrestling royalty, infamous for a much-mythologised series of tragedies. 

As the film opens, we are treated to a black-and-white flashback where the paterfamilias, Fritz Von Erich, is apparently denied his chance to win a title. His revenge is to seemingly raise a large family of boys who are pressured and groomed to win his approval and also win wrestling titles.  The Iron Claw is thus not just his trademark wrestling move, but also the way in which he exerts toxic control over his family, the wages of which we will see play out over the running time.

Zac Efron stars as Kevin von Erich.  It's a performance of great vulnerability and physical prowess that reminded me - inevitably - of Mickey Rourke in THE WRESTLER. Efron bulked up for the role and in the opening shot of him the camera interrogates every vein and muscle on his body. He is a machine created by his father for vengeance. Efron's mournful performance is a career-best and no doubt benefits from what we bring to seeing him on screen. His real-life arc from teen idol to indie darling by way of addiction and body dysmorphia adds a layer of pathos to this role. The parallels between Hollywood and wrestling are painful to contemplate - the extreme body mutilation and pressure to perform - the substance abuse and toxic svenaglis - it's all here.

Next comes Kevin's brother David, played by THE TRIANGLE OF SADNESS' Harris Dickinson. David is the natural showman, more articulate than Kevin, and so finds himself top of his father's preference ranking of his sons - a game that both Kevin and David seem willing to play.

We are in trickier water with the two youngest sons.  Kerry (The Bear's Jeremy Allen White) wants to compete in the Olympics, but his dreams are dashed by the 1980 boycott. He is pulled into wrestling, is good at it, but resents it. White's performance is one of such searing sadness that he barely needs to speak to convey the tragedy of his situation. Finally we have young Mike (Stanley Simons). He's just a kid who wants to make music with his literal garage band. He has no place in the ring, but what father wants, father gets.

All of this feels fairly hopeless and as a study of male toxicity it is. Maura Tierney gets a great scene as the religious oppressed mother who lets all of this happen. And Lily James is impressive in a small role as Kevin's wife. And really it's through her that the film avoids being unilaterally miserable. Because by anchoring in Kevin in marriage, the joy of fatherhood, and the opportunity to be a different kind of man, she gives us a path out of the Iron Claw. There's a scene near the end of this film between Kevin and his sons that made me cry. I don't want to spoil it - but it's one of the most well-earned moments of hope in recent cinema.

Kudos to Sean Durkin for writing and directing such a pellucid, affecting film. I absolutely loved his recreation of late 70s and early 80s small-town America - the music, the clothes, the cars, the garage bands. I loved the cinematography - the apparently meticulous recreation of the fight scenes - and the astonishing performances Durkin pulls from his cast. I do not understand why this film wasn't as big a deal on the awards circuit as THE WRESTLER was all those years ago. It deserves all the plaudits and all the success. And Efron deserves his own version of a McConaugheyssance. 

THE IRON CLAW is rated R and has a running time of 132 minutes. It is on global release.

BABY MAMA - at best mediocre, at worst hypocritical

BABY MAMA is meant to be a warm-hearted romantic comedy about an uptight career woman who hires a white trash surrogate mother to give her a baby. It's meant to be an "odd couple" movie in which both women emerge better for the experience. It's also meant to be a rom-com in which the path of true love in kinked by the fact that the career woman doesn't tell her implausibly understanding boyfriend what she's up to.

The problem is that BABY MAMA isn't very funny, despite being penned by SNL writer Michael McCullers and starring brilliant comediennes Amy Poehler and Tina Fey. There aren't enough insightful gags, and what gags there are rely on really lazy sight/aural gags - for instance, the birthing teacher with a lisp.

While you're not laughing you might notice the pedestrian direction, the lack of chemistry between Tina Fey and her love interest (the always charming Greg Kinnear), and the fact that Dax Shepherd and Romany Malco almost steal the show. You might also notice the remarkable irony with which a script that supports a woman's right to have a baby at 37 goes right ahead and mocks another woman having kids at an old age. Huh? You might also notice that the writer loses his balls in the final reel to give us all a soft slushy ending that is utterly unearned.

BABY MAMA is on global release.

SEMI-PRO - Ricardian cinema

Will Ferrell was a hysterically funny bit-part player in frat-pack comedy, OLD SCHOOL. And in ANCHORMAN: THE LEGEND OF RON BURGUNDY, he got a showcase for his very special brand of comedy. Ferrell typically plays middle-aged men clinging onto the last vestiges of some earlier minor league fame. They are desperate, emotionally vulnerable men who act like spoiled children when real life catches up with them. They can be vicious and mean to their best friends and alienate their loved ones. But somehow these freaks always redeem themselves and come out smiling. I use the word freak advisedly. Ferrell's signature style is to selflessly embarass himself in the pursuit of a cheap laugh. No costume is too ludicrous - no nude scene over-looked. It's as though he is so deperate to raise a laugh that he throws himself onto the mercy of the audience. "Okay, what I'm doing here may be pretty lame, and you may have seen it in every other film I ever made, but I'm trying so very hard, pleeeeeeeeeease love me!"

The problem is this: Will Ferrell has been in so many films spoofing the 1970s that his movies now strike me as stale, cynical, lazy cash-ins. I haven't genuinely belly-laughed at a Ferrell movie in years. On the other hand, you can't damn his movies completely. After all, his attention to the costume and production design and his willingness to whip himself up into hysteria is, well, admirable.

The sad truth is that I have a lot of respect for Ferrell, but his movies have been delivering diminishing returns to the £10 ticket price ever since ANCHORMAN. And let's face it, why do you need him return to the screen as a semi-pro basketball player doing basically exactly the same schtick as he did as a racing car driver or weatherman? Ferrell is a great actor. It's time that producers and script-writers rose to the challenge and gave him a new outlet for that talent. Otherwise he's going to turn into a sad pastiche of himself.

SEMI-PRO is on release in the UK and USA. It opens in Iceland on March 7th; in Singapore on March 20th; in Australia on April 3rd; in France on May 14th and in the Netherlands on May 22nd.