The Iron Orchard

Austin Chronicle by

There’s a degree of mythologization at work here, an attempt to frame the birth of the Texas oil industry as this great drinking game between old money and new money. What it lacks is a distinct perspective; for all its period details and solid acting, the underlying message about this time in Texas oil history – that it was right, that it was wrong, that it was necessary – is lacking. This makes The Iron Orchard a film that is both worse and better than it could have been.

The New Yorker by Anthony Lane

The Iron Orchard, though geographically confined, is all over the place. We flit past the patches of Jim’s life that matter (what happened during those two years, as the dollars poured in?) and linger on those that don’t. Random flashbacks alert us to his youth. The musical score is overcooked, the cast underpowered, and the dialogue something of a mishmash.

RogerEbert.com by Glenn Kenny

As competently put together as this movie is, it imparted to me no sense of a higher calling, and thus left me unmoved.

The New York Times by Jeannette Catsoulis

This lovingly made homage to avarice feels strangely limp. Instead of gushing, it trickles.

Variety by Joe Leydon

The narrative itself, however, is not without its bumpy stretches. The Iron Orchard is satisfyingly involving and entertaining as a whole — call it “Giant Lite” and you won’t be far off the mark — and the performances are sufficiently compelling to ease a viewer through some abrupt and elliptical transitions.

Los Angeles Times by Kimber Myers

Garrison’s McNeely damns the overlong film; he’s neither a good man nor a good character, someone that we can’t care about or care to watch.

Film Threat by Nick Rocco Scalia

The film is never less than entertaining, and it’s easy enough to get caught up in its roller-coaster narrative and impressive recreation of mid-century Texas, but its makers occasionally struggle to get a handle on their protagonist and the attendant themes of ambition, failure, and stubborn perseverance that he represents.

Slant Magazine by Pat Brown

Director Ty Roberts’s film is unable to realize that its subject matter is that of a horror story.

Movie Nation by Roger Moore

This is smelly, dirty authentic-feeling male bonding and is the best thing in the movie.