Written by Andreas Babiolakis

Warning: This review is for Iron Boy, which is a film presented at the 2026 Toronto International Film Festival. There may be slight spoilers present. Reader discretion is advised.

Image courtesy of the Toronto International film Festival.

I will always champion the return of 2D animation in the face of endless years of CGI work; while any style of animation is okay, I miss when there was more versatility to the cinematic craft. That is the instant draw to Louis Clichy's first directed effort to not be affiliated with the Asterix franchise. Iron Boy is compiled of scribbly sketches and watercolour flourishes to turn this coming-of-age story into a child's living daydream. Its aesthetics are adorable to the point of making me grin like the cheshire cat throughout the entire film. However, a film also has to be more than cute in order to be good, and I would argue that Iron Boy is indeed a good film; it has the tools necessary to be great, but I don't feel as though it reaches its potential. For me, a strong coming-of-age story balances the seriousness and the whimsy — the imagination and investigation of youthful eyes and the harsh realities they find. Iron Boy features the hardships of a child's life enough that you know these concerns are present, but I never felt as though the film was actively facing this darkness. I don't expect films to be grim and gloomy on my account, but a film like Iron Boy operates rather safely — it shows the act of growing up but I hardly ever feel this evolution take place.

We follow tween Christophe who cannot stop falling over; he learns that his spine is curved, and so he must wear a neck and body brace. He feels instantly embarrassed at his school. However, his home life is also not as great as it should be. His father is a stern and old school farmer who doesn't see physical or verbal disciplining as beneath him. It doesn't take long for Christophe to feel unwelcome even in his own home. At the local church (where he initially tries to be an altar boy), he comes across a far better father figure: the organist who helps Christophe convert his restlessness into musicianship. Christophe's doctor also encourages him to take on swimming to help strengthen his muscles and back. There, he meets a new friend, Clara (who at first feels like a bullyish adversary but winds up becoming an ally); through her negative influence, she encourages Christophe to stand up for himself and push himself outside of his comfort zone. Still, there is that void in Christophe's life: will he amount to anything in the eyes of his father?

Iron Boy throws a bit of a curve ball in its final act — the kind of act of God that an animated film can dish out without any suspension of disbelief necessary. Once it wraps up, it confirms what we already knew: Christophe would one day be taken seriously. I find Iron Boy uplifting, sweet, and connective, but I also wish that it had more oomph to it — this is a film about overcoming the odds, after all. I don't want Christophe to experience worse, nor do I expect a family (well, somewhat a family film) to get bleak, but I feel like there could have been more to show the qualms of his circumstances. Maybe scratchier, more chaotic linework to break up the endearing animation when needed, or a longer runtime so that the pauses last longer and weigh down on us more. Maybe Christophe was too likeable from the jump, but I didn't worry for his wellbeing once. Coming-of-age films are meant to take you back to the awkward days of our lives and help us relive these transitional phases with adult eyes. I liked Iron Boy enough to feel warmed up and comforted by it. I never felt like I was experiencing the anxious, tricky days of growing up. Iron Boy isn't about reliving salad days as much as it is about reflecting upon what they were like. For me, this makes for a nice watch with little staying power afterward, and it's a shame because this film is precious; I recall it making me smile more than what I took away from its story or themes.

Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Toronto Metropolitan University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.