When you hear about a film titled ‘The Smashing Machine,’ especially one starring global movie icon Dwayne Johnson, it’s easy to anticipate a typical sports drama: a whirlwind of blood, sweat, and glory, a hero’s triumphant rise, a dramatic fall, and an inspiring comeback, all underscored by epic soundtracks and intense training montages. We naturally expect thrilling fights and a satisfying, feel-good narrative.
However, ‘The Smashing Machine,’ which is based on the 2002 documentary ‘The Smashing Machine: The Life and Times of Extreme Fighter Mark Kerr,’ brilliantly subverts these expectations. Dwayne Johnson delivers a truly transformative performance, completely embodying Mark Kerr both physically and emotionally. He masterfully portrays Kerr’s struggle to articulate the intense rush he experiences from risking everything in front of a roaring crowd.
Directed by Benny Safdie, this 123-minute English-language film stars Dwayne Johnson, Emily Blunt, Ryan Bader, Bas Rutten, and Oleksandr Usyk, telling the poignant story of MMA fighter Mark Kerr. Adding another layer of depth, experimental jazz composer Nala Sinephro provides a captivating and dreamlike score. While jazz might seem an unconventional choice for such a high-octane sports drama, Sinephro’s tinkling harps, atmospheric synths, and dissonant drums create a deeply unsettling yet strangely inviting auditory experience. This unique score masterfully mirrors Kerr’s mental state, notably in an early scene where his search for drugs is accompanied by a soundtrack that subtly fades in and out, reflecting his inner turmoil.
Though the in-ring battles are undeniably brutal, they pale in comparison to Kerr’s profound struggles outside the octagon. The film unflinchingly portrays his tumultuous relationship with his girlfriend, Dawn (played with searing intensity by Emily Blunt), and his escalating battle with opioid addiction. We see Kerr’s early days as a wrestler, establishing himself as an MMA pioneer. His chilling declaration to an interviewer, “I don’t know what it’s like to lose, because I’ve never lost,” highlights an almost terrifying self-assurance that quickly unravels.
After achieving fame in the Ultimate Fighting Championship, Kerr moves on to the Pride Fighting Championships in Japan. His addiction intensifies, leading to a devastating loss in the ring and a harrowing incident upon his return home, where he becomes unresponsive following a severe binge.
Although their relationship endures a period of rehabilitation, Dawn eventually leaves Kerr. He then seeks out training with Bas Rutten, who portrays himself, and returns to the ring in peak physical form. A reconciliation with Dawn seems to set the stage for the 2000 Pride Grand Prix, with a potential final showdown between Kerr and his former coach and friend, Mark Coleman (played by Ryan Bader). The narrative then fast-forwards to the present, showing Kerr working in a supermarket, largely unrecognized, yet having found a profound sense of peace.
Johnson’s portrayal is exceptional, perfectly capturing both Kerr’s immense physical power and his deep emotional fragility. Emily Blunt provides an equally powerful performance, matching Johnson’s intensity in every scene. Their final, explosive confrontation, filmed in a single, unbroken take, is a particularly raw and unforgettable moment.
As the sole editor, writer, and director of ‘The Smashing Machine’—his first project without his usual collaborator, brother Josh Safdie—Benny Safdie delivers a captivating film. He fearlessly rejects conventional cinematic tropes, offering instead a brutally honest and compelling journey.
While those unfamiliar with the world of extreme fighting might wish for a few more contextual details, ‘The Smashing Machine,’ a recipient of the Silver Lion at the 82nd Venice International Film Festival, stands as a profound exploration of resilience. It’s a testament to a man who, despite enduring countless blows and personal battles, emerges on the other side, bruised but ultimately unbroken.
This powerful film, ‘The Smashing Machine,’ is now playing in theaters.