The inherent contradiction of the most successful movies about wrestling (The Iron Claw and The Wrestler to name just two examples), is that they tend to be high-level productions that set their sights on major awards contention, which puts them somewhat at odds with the real-life sports entertainment industry they attempt to represent. If we focus solely on the WWE for a moment, there’s a hugely lucrative global business that never quite seems to dig itself entirely out of the mire. It’s only ever two steps away from a major scandal at worst, or a cringe-inducing creative decision at best, so when the A24-produced, or Aronofsky-directed feature comes along, it all feels a little arms-length from the spectacle it’s tapping into.
So whilst Dark Match is unlikely to attain the same level of critical appraisal from filmgoers, this scuzzy, low-budget, and pretty darn entertaining latest effort from WolfCop maestro Lowell Dean, might be the film the wrestling world deserves. Cast your mind back to the ’80s heyday, or the Monday Night Wars of the late-’90s, and any wrestling fan will remember the increasingly ridiculous storylines and steroidally manic, imperfect promos each wrestler would cut – which is precisely where Dark Match positions itself.
Dean is clearly a filmmaker who has inhaled all of the cultural touchpoints of the era this films sets itself within – whacked out, grizzly horrors; meatheaded, vulgar wrestling superstars; and a general Satanic Panic furore – drawing upon each to craft a film that nods and winks its way through the kind of post-modern grindhouse that Tarantino and Rodriguez felt inclined to revive.
As if to prove this point as heavy-handedly as you might expect, there are a couple of key stunt castings, the first being the much-discussed appearance of Chris Jericho in his maiden role of any significance. Chris Irvine, to call him by his given name, does precisely what is asked of him – delivering upon the kind of overblown register he’s been accustomed to for decades while starring for the likes of WCW, WWE and AEW. Fans of the Grand Theft Auto video game will be thrilled to hear that Steven “Trevor” Ogg is also here in a leading role, channelling the same kind of insanity he made unforgettable on so many consoles a decade earlier. I understand that Ogg isn’t keen on being defined by a role he sees as a rather insignificant voice part, especially in a career littered with other performances he’s equally proud of, but the fact is that he’s likely to always be remembered for Trevor. Dark Match‘s character of Mean Joe Lean gives off that exact same energy – and the film is all the better for it.
Alongside these two towering presences, the secret to the film may lie in two other key performances, one being the leading turn from Ayisha Issa as the wonderfully named Miss Behave, and the other is my personal favourite performance of the whole show – Mo Adan as Enigma. These two light up the film in different ways, with Issa being very much the centre of the film in a role that initially seems impenetrable, but works its way into the heart of the audience. Adan’s performance is something different entirely, and drawing upon the stars of silent cinema his character’s gimmick is all about the physical performance. I found myself somehow caring more for him than anyone else – a key indicator that every choice he made worked exactly as intended.
Throw in Lowell’s growing quality behind the camera, and the confidence to, if not push forward, at least competently play on his influences (think Green Room directed by Gaspar Noé, minus the biting edge of either and you’re somewhere close), and what you have with Dark Match is for sure imperfect and easy to pick the bones of (should you wish to). Just like all those bonkers promos featuring characters as eclectic as Brutus “The Barber” Beefcake and Jake “The Snake” Roberts, this is a film that exists within the ethos of its inspiration, rather than pretentiously critiquing it from afar, and that’s why Dark Match is a hell of a lot of fun.
Dark Match had its World Premiere at Fantasia 2024
