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In too brief a glimpse into Kuklinski’s past, we learn that both he and his brother Joey were beaten by their father.
Joey is currently in prison for killing a young girl—which breaks Kuklinski’s golden rule of “no women, no children.” During a prison visit, Richard tells his brother never to contact him again, and Joey mocks Richard’s belief that that his make-believe life will last. Things begin to crumble in the ’80s, with Demeo and other mob bosses handling their hits internally.
Freezy that’s surprisingly good—and about as far a role from Captain America as one can imagine.
The extra money comes in handy for Richard and Deborah, who are expecting their second child.
The story then plays like a recreation of real events from 1964 to 1982 rather than something resembling a dramatic arc.
Kuklinski is fundamentally the same at the beginning of the movie as he is at the end of the movie.
It’s an important perspective that The Iceman never addresses.
Despite the film’s flaws, it’s Shannon’s take on Richard Kuklinski’s duality—as a brutal, amoral killer who insists on sending his two girls to Catholic school—that’s most fascinating to watch.