For It Is Man's Number: jeremy allen white

Showing posts with label jeremy allen white. Show all posts

Tuesday, 26 May 2026

The Mandalorian And Grogu (2026)

I guess I am what you would call a very casual Star Wars fan nowadays. I have seen all of the previous live-action feature films. Even those focused on the ewoks (hey, I was young, it was the thing to do before we had so much more content to enjoy). I've seen the first season of The Mandalorian. And I've even sat through the infamous The Star Wars Holiday Special. I couldn't name you every minor character though, and I certainly couldn't answer questions on the timeline and shifting politics of the Star Wars universe. So I went along to see The Mandalorian And Grogu with the hope that it wouldn't rely on me being some kind of expert on the main subjects.

Fortunately, this doesn't ask much of viewers. Unfortunately, you could argue that it's far too insubstantial. I've already seen other people comment (quite rightly) that it feels a bit flat and un-cinematic.

Co-written by director Jon Favreau, Dave Filoni, and Noah Kloor, this adventure puts our titular characters in jeopardy when The Mandalorian (voiced, and infrequently given a face, by Pedro Pascal) is asked to rescue Rotta the Hutt (voiced by Jeremy Allen White). Doing that should gain him some information about the whereabouts of a valuable individual. He also has to look after little Grogu, of course. Or will things happen that require Grogu to look after The Mandalorian?

This looks okay, and it's an entertaining distraction, but that's the best I can say about it. Nothing really feels as if it's envisioned as spectacle on the big screen, some character designs really work against some of the action in the third act (Hutts are better as mob boss types than fighters), and none of the pretend peril ever really works. Let's face it, this is still a fillm aimed at younger viewers, despite the 12A rating here in the UK, and nobody wants to make a decision that would ruin any future adventures and merchandising opportunities.

Pascal is a comforting presence throughout, even if he's not often fully visible, and White delivers an excellent vocal performance, as do the likes of Stephen McKinley Henderson, Shirley Henderson, and even Martin Scorsese. Sigourney Weaver adds another huge sci-fi franchise to her filmography, doing well with her relatively small role, and Jonny Coyne is entertainingly untrustworthy when he's onscreen. Most of the humanoids are easy to forget whenever Grogu is in the middle of the action though. It's a good job that they're as cute as ever, because the film wouldn't work otherwise. I'll also mention composer Ludwig Göransson here, thanks to the score feeling like an important supporting character throughout.

I like Favreau. I believe that he would have made this with good intentions. Those seem to have dissipated quickly though. While The Mandalorian And Grogu certainly gives fans of the duo some more time in their company, which is the minimum you'd expect, it doesn't work as a film. Nothing feels majorly different between the start and the end of the movie, and I might have enjoyed this more if it was marketed and made available as a special in between seasons of the TV show, or maybe a special providing a nice way to end the TV show. Which is what it is, basically.

Keep an eye out on my rating for this though, I may actually end up liking it more when I rewatch it in the comfort of my own home.

5/10

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Sunday, 17 August 2025

Netflix And Chill: The Iron Claw (2023)

Two things have happened as wrestling has grown in popularity over the decades. One, more and more people have been available to point out how obviously fake it all is, especially when it comes to ongoing storylines and twists and turns on the road to crowning champions for different events. Two, more and more people have been available to point out that it takes a hell of a lot of physical skill and strength to sell that fakery. Real injuries happen all of the time, some of them a lot worse than others, and career wrestlers know just how much blood, sweat, and tears they have left in the ring after years of fighting to entertain hungry crowds. Sometimes it's just enough. Sometimes it's far too much.

The Iron Claw is a tale of wrestling, in a way. It's a look at the Von Erichs, a family who seemed to be cursed, and shows how the male members of that family were worn down over the years by the physical toll of their lifestyles, the pressures put upon them, and sometimes just one bad decision leading to the worst possible outcome. There's pain throughout almost every scene, and the moments that are pain-free feel threatened by some as-yet-unseen train hurtling down the tracks to crash and upend multiple lives.

The third feature from writer-director Sean Durkin, The Iron Claw may seem like it's only for a niche audience, but it actually works well for anyone who has felt that pressure to do something that they didn't always love. That pressure may come from parents, as it so often does, or it may come from siblings. It could come from a loving partner, it could come from those trying to influence your career decisions to deliver a desired outcome. And sometimes, even with those other voices silenced, it comes from within. While The Iron Claw IS about wrestling, it's equally about that internal voice, and the struggle to deal with it.

Holt McCallany does a very good job as the patriarch, a man who thinks he knows what is best for his sons and maintains constant pressure on them to try and be the best they can be. He's a human steamroller, but remains loved by his children long after the damage he has caused finally starts to become clear. The film rests on the broad and muscular shoulders of Zac Efron though, who is put on display in his very first scene in a way that displays his incredible transformation into some kind of man-mountain. Efron can act, of course, but his commitment to embodying Kevin Von Erich here leads to what is arguably his best ever dramatic performance. Jeremy Allen White, Harris Dickinson, and Stanley Simons are the three other main Von Erich boys shown onscreen, with all of them doing well enough to share the screen with McCallany and/or Efron, and both Maura Tierney and Lily James do their best as the main women orbiting a small planet of dense musculature and toxic masculinity.

Like many a film based on real life events, some truths have been omitted and some of the timeline has been moved around, but that doesn't stop this from being very effective and informative, much like the best documentaries. I think those already familiar with the story will find a lot to appreciate here, even if they pick up on certain errors or scenes that they feel don't quite represent things with 100% accuracy, and those who know much less about the wrestling world, like myself, will be moved by it, and maybe interested in diving a little deeper into the true story.

Don't put this on when you're not prepared for it, mentally. It's a rough, draining, experience, and runs for just over two hours. But do steel your resolve to tackle it one day. It's a majorly impressive work, thanks to Durkin making a number of smart choices and a cast who go as far as they can to present their characters with authenticity, in both their bodies and their souls.

8/10