In the ring of biographical dramas, Benny Safdie's The Smashing Machine packs a punch, chronicling the turbulent life of MMA pioneer Mark Kerr. Set for release tomorrow by A24, the film marks Safdie's first solo directorial effort since parting ways with brother Josh, and it stars Dwayne Johnson in a surprisingly vulnerable turn as Kerr, the former UFC champion whose victories masked deep personal struggles with addiction and trauma.
Emily Blunt, playing Kerr's wife Dawn Staples, brings a raw intensity to the role that critics are already hailing as one of her strongest. Indeed, her performance grounds the film's chaotic energy, portraying a woman torn between love and the brutal realities of her husband's demons. Johnson, often typecast in blockbusters, sheds his larger-than-life persona here, bulking up not just physically but emotionally for scenes that depict Kerr's opioid battles and octagon triumphs. The movie, drawn from a 2002 documentary, unfolds with Safdie's signature urgency—quick cuts and handheld shots that mimic the sport's ferocity.
At its Venice Film Festival premiere last month, the film earned a 15-minute standing ovation and snagged the Silver Lion award, signaling strong Oscar buzz for the ensemble. Reviews praise its avoidance of sports movie clichés, opting instead for a fragmented narrative that mirrors Kerr's fractured psyche. However, some note the runtime's occasional drag in exploring his post-fight descent, though Blunt's poignant moments elevate it. Safdie, in recent interviews, credits the cast's commitment, mentioning how Johnson trained rigorously with real fighters like Ryan Bader, who debuts impressively as Kerr's friend Mark Coleman.
Moreover, the production's authenticity shines through cameos from MMA legends Bas Rutten and Oleksandr Usyk, adding layers to the early UFC era's wild underbelly. Yet, for all its grit, the film subtly critiques the toll of fame in combat sports, a theme that resonates amid today's headlines on athlete mental health.
As The Smashing Machine steps into theaters, it raises questions about how we glorify warriors while ignoring their hidden scars.