The film focuses on the dynamics and turmoil of the Von Erich family, so less attention is given to the actual wrestling side of things. It’s understandable since this is primarily a drama and not a sports film. Still, I would argue that delving more into the careers of the Von Erichs as wrestlers is necessary for fleshing out their story completely.

If you can find this in theaters, watch it; if you see it on Blu-ray, buy it; and if it shows on a streaming service, then grab a drink and get ready for a top-tier classic. The Holdovers has what it takes to be a timeless film that will be replayed every holiday season for years to come.

Gordon-Levitt and Hewson have excellent chemistry, but the fact that most of their interactions take place via Zoom surely presented an acting challenge. Most often shown as a face on a screen, Gordon-Levitt had to establish his character without the benefit of considerable body language. Hewson was not as restricted, as she freely interacts with other performers.

All that being said, this movie does have a saving grace and it’s the fight choreography. Roughly half of the scenes in the movie are all back-to-back fights. Aside from Walid, it’s hard to tell who the characters in combat are or why they’re even fighting, other than a general “good guys vs. bad guys” thing, but the choreography makes it entertaining.

After a slow start, “Women Talking” falls into a rhythm that drags viewers through the dilemma, asking them to imagine themselves facing the choice. Do they stay, forgiving the men who violated them emotionally and physically, giving implicit approval to their actions by doing so? Or do they leave, uprooting themselves and (in some cases) their young children from the only existence they understand?

Laura Lopez as Blanquita does a great job of portraying a character that has been through a life of trauma but does her best to fight through the difficulty of pursuing the case. She has strong resolve but does show weakness and doubt when things escalate and the danger rises. Alejandro Goic as Father Manuel also puts in a stellar performance as a priest who is tired of children’s suffering being swept under the rug. The film’s writing and direction go a long way in establishing a quiet, serious tone.

There have been other movies in the past that explore a younger character’s reaction to their impending death, but this take is refreshing. Williams has had plenty of time to live a full life and has chosen to stay in the rut that’s been dug for him. The diagnosis is certainly sad news, but it doesn’t have the same tragic feeling as when a younger life in its prime is cut short. Williams’ quiet nature and dignity are the result of his long, uneventful life and seeing him become more of a free spirit is almost magical.