It’s human nature, when in the aftermath of an unexpected, tragic event, to ask ‘could this have been prevented?’ It’s a kind of coping mechanism to try to make sense of the unimaginable, a way to find some peace of mind when answers may not be readily available. Biopics tend to attempt to find their own answers, whether by re-contextualizing the facts, or unveiling what was previously forgotten.

After only two films as a writer and director, Sean Durkin has firmly established himself as a confident voice in telling complex, haunting stories. Martha Marcy May Marlene was about a woman being confronted by her past, and the control she unknowingly put herself under. The Nest told the story of a family in crisis as they fought to find their status in the world. The Iron Claw is undoubtedly Durkin’s most commercial film yet, and while it may be his weakest overall, it still retains his sensibilities, ultimately feeling like a film that only he could make.

I do not profess to be an expert at the history of professional wrestling, but the Von Erich family was at the center of the universe for a time during the sport’s early days. But the time inside the ring of The Iron Claw only provides a small portion of the drama, and Durkin instead focuses on the Von Erich’s drama, and the tragedies that befell them, which may or may not have been preventable.

Fritz Von Erich (Holt McCallany), the militaristic head of the wrestling can, has conditioned his sons Kevin (Zac Efron), Kerry (Jeremy Allen White), David (Harris Dickinson), and Mike (Stanley Simons) to expect nothing less than perfection, often pitting them against one another for his approval. At one point he literally gives a ranking of his favorite children in the same tone as a grocery list. As if his father’s expectations weren’t enough, Kevin has the “Von Erich Curse” hanging over his head, a superstition borne from generations before him, and likely drilled into him after his father’s failures.

If nothing else, Durkin has proven to be adept at obtaining awards-worthy performances from his stars, and The Iron Claw is no exception. Though the entire ensemble is stellar, Efron is worth the price of admission alone, easily giving his best performance to date. Yes, it’s a physical transformation, with Kevin’s muscles almost as hulking as his hair, but Efron nails the almost stunted mentality of Kevin. Too afraid to defy his father, too afraid to abandon his brothers, too dumb to know there’s a world of possibilities outside the wrestling ring – it’s all there in Efron’s embodiment.

The bulk of the second and third acts revolve around the quick and agonizing decline of Kevin’s brothers. Durkin renders it with enough pathos and tragedy to make it believable, even if it kind of resembles Mr. Burns besmirching his team of ringers’ invincibility. Yet, despite the tragedy of it all, Kevin never questions his father’s intentions. Even after prioritizing Mike – who never really dreamed of being a wrestler and certainly isn’t built for it like his brothers – in the ring over Kevin. Crucially, Fritz isn’t a monster or a tyrant on the surface, but he’s ingrained his “win or nothing” mentality for so long before the camera starts rolling, that Durkin doesn’t feel the need to oversell it.

For all its charm and excellent performances, The Iron Claw is likely Durkin’s slightest film so far (a relative term). It does provide a lot to chew on after the credits roll, but it lacks the nuance and depth that Durkin has brought to his other projects. If anything, the film proves that Durkin can make films on a bigger, grander scale that still manage to cater to his sensibilities. Many great films have been made inside the ring, be it about boxing or wrestling, and The Iron Claw gets the wrestling sequences right, making each hit land with a physicality that’s too easy to fake. And in a sport with fake drama and real pain, The Iron Claw gets both right.

The Iron Claw will be released in theaters nationwide on December 22.

OSCAR POTENTIAL:

• A24 likely had high hopes for the film at the Oscars, given its December release date, but it doesn’t seem like awards bodies are responding well enough. The film got blanked with the Golden Globes nominations, so its likelihood for any Oscar noms is likely over.