INTRODUCTION
This is a quick review of the newly released film The Smashing Machine. Please note that this is just one of the many movies I will have watched each year, and my initial grade for this film may change over time, for better or worse. To stay up to date on my thoughts about other movies and any potential changes in my opinion on this one, follow me on Letterboxd.
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PLOT
Via Letterboxd: The story of legendary mixed martial arts and UFC fighter Mark Kerr.
REVIEW
In 2009, the Safdie brothers, Benny and Josh, released their first feature, Daddy Longlegs. The small indie made its way through the Cannes and Sundance film festivals before getting a 2010 theatrical run. While not widely seen, it served as getting their foot in the door, leading to a few documentaries over the next few years, and then the critically praised Heaven Knows What (2014). From there, the duo broke through with Good Time (2017) and Uncut Gems (2019), both critical sensations that elevated them from indie darlings to A24-backed auteurs. That’s why it came as a surprise when they announced they’d pursue separate directing projects, just at the moment it seemed they were about to break through into even bigger mainstream attention. Later this year, Josh will unveil his first solo effort and I will be reviewing it; but here, I’m focusing on Benny’s lone directorial debut, The Smashing Machine.
Safdie comes to the project after a run of supporting acting roles in such films as Licorice Pizza, Oppenheimer, and Happy Gilmore 2. His movie tackles the real-life story of UFC fighter Mark Kerr, a legend active long before MMA entered the mainstream. Kerr’s turbulent life was already documented in the 2002 documentary of the same name, so seeing Safdie, a filmmaker (much like Sean Baker) known for chaotic, character-driven dramedies about people on society’s margins, tackle a biopic felt like an unexpected pivot.
The biggest headline, though, was casting Dwayne “The Rock” Johnson as Kerr. For years Johnson’s career has been defined by action comedies, his larger-than-life persona, and a long-running joke in film circles, “It’s just ‘The Rock’ being ‘The Rock’.” Reviews of his movies typically ranged from “awful” to “harmless but forgettable,” and his performances rarely escaped that critique. Here, however, Johnson faced his first serious acting challenge, physically transforming into Kerr with makeup, stripping away the usual khaki-shirt charm, and playing an actual separate individual instead of leaning on his star power. Even if portraying a UFC fighter keeps him adjacent to his wrestling roots, this role couldn’t be phoned in.
Emily Blunt joined the cast as Kerr’s ex, Dawn. She and Johnson had already shown strong chemistry in the unfairly dismissed and fun Jungle Cruise (2021), and with rumors of another collaboration in a future Scorsese project, their pairing here felt like a natural fit. It also added another layer of intrigue to Safdie’s solo debut.
The film premiered at Venice to solid reviews, with Safdie even pulling off an upset Best Director win. Its Toronto reception was more muted but still leaned positive overall. With awards buzz swirling, I went into my local screening curious to see two things, whether Johnson could finally shed the caricature his career roles had become, and whether Benny Safdie could step out from his brother’s shadow to prove himself as a singular filmmaker.
Of course, the biggest question to get out of the way is Johnson’s performance as Kerr, and I can report back that it’s the greatest role of his career and the finest work he’s ever put on screen. Johnson gives it everything he has, delivering the first performance of his that made me truly care deeply for the character he was playing. He embodies the gentle giant role so well that at times it felt like I was watching Kerr’s raw reactions to life events, almost as if I were intruding on moments too private to see. He’s absolutely the MVP here, and his performance alone likely saved the film from a harsher critical consensus.
Blunt’s performance as Dawn is trickier. She does solid work with the material, but the writing leaves her one-note and too unlikable for the audience to really grasp more as to who she is as a person.
Two supporting turns I want to highlight come from MMA fighters themselves. Bas Rutten plays himself as Kerr’s coach and mentor, while Ryan Bader brings surprising heart as Mark Coleman, Kerr’s longtime friend and rival. If the film had leaned more into Kerr and Coleman’s bromance, I might be calling this one of my favorites of the year. But when they have their moments, I really cared about these two men’s friendships.
Technically, the film is solid across the board. The direction is competent if not as revelatory as the Venice jury seemed to think. The cinematography nails a gritty vibe I loved, the art direction perfectly captures the late nineties (save for one anachronistic Coca-Cola bottle design that I noticed in one scene), and the score has its moments. The fight sequences are especially gripping; Safdie throws us right into the ring, making every blow and grimace land hard. It’s bone-cracking, bloody stuff, and often had me wincing as if I were the one taking the blows.
Where audiences will likely split is in the storytelling. This isn’t your typical biopic with neat arcs and montages. It’s a slice-of-life “vibes” movie, not unlike last year’s A Complete Unknown. If you can’t tune into that wavelength, it can feel emotionally distant, almost like a scripted documentary. For me, that wasn’t much of an issue, but I get why others might find it harder to engage. As someone more lukewarm on A Complete Unknown compared to others, but impressed by Chalamet’s performance, I now see how people could feel the same divide here.
Ultimately, the film is carried by Johnson’s remarkable work, and how much you enjoy it will depend on your interest in MMA’s leaner, pre-mainstream years. Personally, I vibed with it enough to be captivated by Kerr’s arc in this. I give The Smashing Machine a B+. Johnson may have an uphill climb to an Oscar nod, but he’s just punched his way into real consideration for my own personal awards ballot.
“TL;DR”
Pros: Dwayne “The Rock” Johnson delivers his greatest performance yet (which might end up one of my favorites from the year); Intense fight sequences that will have you wincing
Cons: This is a vibes movie with plenty slice-of-life elements that will keep you at a distance if you can’t get on its wavelength
GRADING
