The Iron Claw (2024)

Direction: Sean Durkin
Country: USA

Having savored Sean Durkin’s previous directorial works - Martha Marcy May Marlene (2011) and The Nest (2020) - I eagerly anticipated The Iron Claw, his third feature based on a real story about a family of wrestlers. However, it proved to be a significant disappointment. Despite the weighty events it attempts to chronicle, the film's tone feels surprisingly light, resulting in a dismal execution that casts a shadow over its potential.

This American tragedy, transformed into a ludicrous pastiche, follows the inseparable Von Erich brothers, driven to wrestling stardom by their tyrannical and negligent father. While they left their mark on professional wrestling in the early '80s, the film questions the price paid for success. 

The Iron Claw compares to wrestling in the way that it’s all pose and artifice but no brains or integrity. In addition to overlong, the film lacks emotion at every turn, and the acting never impressed - Jeremy Allen White being the exception. 

Making matters worse, Durkin’s loss of direction in the sentimental last part of the film sinks the narrative deeper. Regretfully, The Iron Claw emerges as a slippery and inaccurate sports drama, failing to make a lasting impact. 

The Boys in the Boat (2023)

Direction: George Clooney
Country: USA

The Boys in the Boat, George Clooney’s ninth directorial venture - as a filmmaker, he’s known for Good Night and Good Luck (2005) and The Ides of March (2011) - is a sports biographical drama chronicling the triumphant journey of the University of Washington men's rowing team, representing the United States at the 1936 Berlin Olympics. 

The narrative follows Joe Rantz (Callum Turner), a working class-student who overcomes familial abandonment to excel as a rower. In supporting roles, Joel Edgerton and Hadley Robinson play the protagonist’s demanding rowing coach and supporting girlfriend, respectively. 

Despite its grandiose sporting achievement, the film suffers from unexceptional performances and overly formal direction, resulting in a pedestrian storytelling experience devoid of brilliance. This disappointing lack of originality, typical of formulaic biographical films, partly stems from Mark L. Smith's uninspired adaptation of Daniel James Brown’s book of the same name.

While visually polished, the film relies increasingly on melodramatic contrivances rather than exploring character depth, with Clooney sugarcoating Rantz’s predicaments without delivering the necessary emotional impact. The Boys in the Boat offers modest excitement during the competitive sports scenes but falls short in other aspects, running out of steam well before its conclusion. Viewers are left craving more than just a trivial account of the facts.

Ferrari (2023)

Direction: Michael Mann
Country: USA

The accomplished director Michael Mann, known for films like The Last of the Mohicans (1992), Collateral (2004), and Ali (2001), brings his expertise to this biographical sports drama centered around Enzo Ferrari, the renowned Italian entrepreneur and founder of the Ferrari Grand Prix motor racing team. Written by Troy Kennedy Martin, based on the biopic Enzo Ferrari: The Man, the Cars, the Races, the Machine by journalist Brock Yates, the film delves into Enzo’s business challenges, his tumultuous relationship with wife and business associate Laura Domenica Garello, his solace found in mistress Lina Lardi and their son, and his drivers of choice - in particular Alfonso de Portago. 

Adam Driver and Penelope Cruz give a pair of excellent performances as husband and wife, contributing considerably to the relative success of a film that revealed to be less exciting than initially expected. There are some spectacular racing sequences but the film misses greater opportunities to shine and ultimately wobbles in its struggle to hold our interest. Essentially, the emotions are subdued, compromising the film’s provocative intents. Having said that, and despite some occasional dragging pace, the narrative follows logically, and the facts are delivered with no major flaws or startles.

As a result, half the audience will gasp at the drama, while the the other half - the auto racing enthusiasts - may seize the moment to deepen their historic background on Ferrari team and its founder.

Cassandro (2023)

Direction: Roger Ross Williams
Country: USA

The empathetic autobiographical drama Cassandro delves into the true story of Saul Armendáriz, a gay amateur wrestler from El Paso who, in the early 1980’s, catapulted from anonymity to fame after creating the ‘Exótico' character that lends the film its title. Directed by Roger Ross Williams, known for documentaries  such as God Loves Uganda, Life Animated, and The Apollo, and co-written with David Teague, this rare hybrid soars more than it lumbers, brimming with insight and cinematic flair. It marks the director’s narrative debut feature.

The plot offers an intimate look at Saul’s dreams, struggles, and life - the breathlessness of a young, creative fighter seeking for recognition and the adult realization that life, no matter its accomplishments, is not without hardships. The protagonist, competently portrayed by Gael Garcia Bernal, lives with his loving mother and true inspiration, Yocasta (Perla de la Rosa). He also maintains a secret yet frustrating relationship with a married wrestler (Raúl Castillo), and unsuccessfully tries to cope with the emptiness left by an absent father who suddenly vanished after he came out at the age of 15. Occasional flashbacks peek into the characters’ past without succumbing to melodramatic trappings.

Provocative without being excessively flamboyant, Cassandro is endowed with remarkable performances, underlining themes of freedom, courage, and ambition in most scenes; it offers an engrossing exploration of Saul’s duality in life. For the way it was done, it doesn’t necessarily beg for attention, but it certainly earns it.

Air (2023)

Direction: Ben Affleck
Country: USA 

Air marks the return of Ben Affleck as director, seven years after the disappointing Live by Night. Although he also stars here as Phil Knight, the billionaire CEO of Nike Inc., the central figure of this decent-enough sports biographical drama is played by Matt Damon. He is Sonny Vaccaro, a basketball scout and marketing executive who will trigger a unique historical shoe deal by approaching the young star Michael Jordan to sign with Nike - against his favorite Adidas. It’s the famous Air Jordan shoes we’re talking about here. The year is 1984, and the film brings plenty of nostalgia through music and some transient sequence of images.

Even so, you don’t have to be interested in basketball or Jordan, who doesn’t speak throughout the whole film, since the story is told with enough conviction and transparency to connect with people who are not into the NBA. Because more concerned with the characters and their personal goals than with the sport itself, everyone should be able to enjoy it. 

The film’s main strength is precisely that it's a great story. It’s also well acted by a cast that includes Viola Davis, Jason Bateman and Chris Messina in strong supporting roles. For his part, Affleck keeps the narrative moving at a nice pace. 

Narrative-wise, though, Air doesn't have an original bone in its body - the film falls into typical American standards of emotional tension - but, being entertaining and informative, it succeeds at bringing an usually forgotten part of sports history into the minds of today's audiences.