THE SMASHING MACHINE (2025) review

written by: Benny Safdie
produced by: Benny Safdie, Dwayne Johnson, Eli Bush, Hiram Garcia, Dany Garcia & David Koplan
directed by: Benny Safdie
rated: R (for language and some drug abuse)
runtime: 123 min.
U.S. release date: October 3, 2025

If you look closely at Dwayne Johnson’s filmography, you’ll see signs that he’s more than just an action hero or family comedy star. In fact, it should come as no surprise that Johnson’s latest film, “The Smashing Machine”, is the new A24 sports biopic edited, written, and directed by Benny Safdie, his first solo outing since his amicable split from his brother, Josh (both of them made “Good Times” and “Uncut Gems”). He’s played other real-life roles in the past, such as “Pain and Gain” and “The Gridiron Gang”, both of which were good examples of Johnson’s potential range as an actor. In his depiction of former amateur wrestler and MMA fighter Mark Kerr, Johnson presents his most remarkable instance of range yet.

When Arnold Schwarzenegger made a cameo at the beginning of 2003’s “The Rundown”, encouraging Dwayne Johnson’s character (then still primarily known as “The Rock”) to “Have fun”, it was taken by many to be a meta blessing from one action veteran to an up-and-coming one. However, most of the roles Johnson took since then were primarily action comedies, not straight-up action flicks. Those would come later, but none of them would become classics like “Commando” or “Predator.” Yet, while it took Schwarzenegger a while to work his way into comedies, Johnson jumped right into the genre.

Now with “The Smashing Machine”, Johnson has signed on for a project that hits close to home for the former wrestler. It’s a chance to draw from his own experience as a wrestler, but no doubt viewers will see that parallel. Johnson also serves here as a producer on the film, as does John Hyams, who directed the 2022 HBO documentary “The Smashing Machine: The Life and Times of Extreme Fighter Mark Kerr.” While this is essentially the dramatization of that documentary, Safdie deftly approaches the line between the conventions of a sports biopic and an up-close exposé.

At the opening of “The Smashing Machine”, it’s established that much of what we’ll see takes place from 1997 to 2000. Indeed, most of the rise and fall of Mark Kerr (Dwayne Johnson) occurs during that time frame; we also see what transpired in the following years. When we’re introduced to Kerr, he’s making his MMA debut at the World Vale Tudo Championship in São Paulo in 1997. The montage then moves forward as the fighter works his way through each opponent. He has an undeniable forward momentum that’s noticeably intimidating in the ring with signature moves that live up to the movie’s title. On the mat is where he catches the thrill of it all, getting high from thousands of onlookers. Outside the ring, Kerr is genial and polite during interviews and patient with fans, while facing a different high: his struggle with pain-relieving opioids.

Kerr isn’t going at this career trajectory alone, surrounding himself with two important people who know him better than anyone else. He remains close friends with his former mentor, now colleague, Mark Coleman (played by American MMA fighter Ryan Bader), and he’s also in a sweet and salty relationship with girlfriend Dawn Staples (a remarkable Emily Blunt), the latter of which often emotionally hijacks Kerr at the most inopportune times. Granted, their romantic relationship has as many ups and downs as the battles in the ring, with both partners showing their own whiplash insecurities, needs, and fears in volatile ways. They’d be better off without each other, but at the same time, it’s also apparent that apart from each other, they’d clearly need professional help.

Kerr’s career finds its apex when he loses his first fight at the Pride 15 competition in Japan in October 2000. Before the fight, when asked by a local journalist (in an obvious foreboding interview) how he’d feel if he lost, Kerr responds with honesty that he can’t imagine it, because he has never had to. Needless to say, for a man who’s become as addicted to winning as he has narcotics, he’s absolutely devastated at the loss. After the fight, he walks up to the Japanese officials to complain about his opponent’s alleged illegal moves (repeated knee hits to Kerr’s head), and then retreats to his empty locker room to release built-up tears behind his covered face. Even without an audience, the hulking figure is overcome by embarrassment and humiliation.

While Kerr does his best to keep his emotions in check during his crisis of confidence, it becomes tougher to face new challenges. It doesn’t help that Dawn’s high-maintenance, passive-aggressive persona often undermines his mental and emotional state. Watching Johnson and Blunt go at it is just as riveting (maybe more so) than seeing Kerr face off against his opponents in the ring. Safdie gives both actors enough space to convey their characters’ complexities, allowing viewers to witness an impressive array of raw and genuine performances.

Safdie, who also serves as editor here, surrounds Johnson and Blunt with a plethora of supporting players with real-life experience in the MMA world. Besides Bader playing Coleman, there’s a handful of actual fighters playing Kerr’s various opponents and fellow fighters. Among them are Oleksandr Usyk as Igor Vovchanchyn, Satoshi Ishii as Enson Inoue, James Moontasri as Akira Shoji, Paul Cheng as Masaaki Satake, Yoko Hamamura as Kazuyuki Fujita, as well as others, all of whom lend authenticity to the atmosphere Kerr is immersed in. Just as Johnson blends in and disappears into the titular role, so do these boxers and fighters, adding an understated realism to the production. Former MMA fighter/kickboxer/wrestler, Bas Rutten plays himself, someone Kerr goes to after losing and going through rehab to regroup and get focused training that will help him get back in the ring.

Johnson’s performance as Kerr is genuinely something to behold. Sure, he’s got the body, and at six-foot-five-inches, he’s even taller than Kerr and definitely broader. Still, underneath all the facial prosthetics—there’s that wig, a padded nose, and requisite cauliflower ears—he conveys a pain that can’t be remedied with a syringe. There are times when I’d forgotten that it’s The Rock playing Kerr, that is, until the third act, when Kerr shaves his head bald, and then we see a more recognizable Dwayne Johnson.

Cinematographer Maceo Bishop employs a similar approach to the one he used in the television series “The Curse,” which was filmed in a documentary style. The fighting scenes aren’t necessarily immersive, but they are as naturalistic as anything else in “The Smashing Machine,” and are easy to follow. They are also as observational and voyeuristic as the conversations and arguments Kerr has with Dawn. At times, the camera is like a lurking shadow or accusatory phantom that closely frames Johnson, especially when he’s the only one in the room, phasing in and out of his drug-induced high or trying to hide in a wave of emotional regret and embarrassment.

The film’s score is composed by Belgian experimental jazz musician Nala Sinephro, marking her feature film debut. She brings a fascinating, albeit unexpected, atmospheric sound that matches the film’s intense and emotional moments. The soundtrack, overseen by music supervisor Linda Cohen, primarily features diegetic pop-rock songs by artists such as Sublime, Sugar Ray, Rod Stewart, Squeeze, and Faith Hill. There’s also Elvis Presley’s “My Way” (Live in Honolulu, circa 1973) and Bruce Springsteen’s “Jungleland”, the latter of which is played during a particular low point for Kerr and is interesting considering The Boss contributed the titular original song to Darren Aronofsky’s “The Wrestler” back in 2008.

On that note, “The Smashing Machine” shares similarities with other wrestling movies, but it’s distinct enough to avoid feeling like a generic entry. Much of that is due to Safdie’s writing, editing, and directing. Johnson and Blunt are undoubtedly terrific together. Even if you’re not into this kind of sports drama or totally unfamiliar with MMA fighting/wrestling, what we have here is nevertheless compelling. Kerr’s story, in particular, doesn’t feel unique, and I can’t say “The Smashing Machine” has anything profound to say about him, the sport, or addiction. However, it’s still a wholly absorbing viewing experience.

RATING: ***