October 6, 2025 · Watch the trailer
Actors are frequently lauded for stepping outside their comfort zones to reveal aspects of themselves they hadn't before, or to discover something new in their repertoire.
This is often achieved through a great physical or emotional transformation that is meant to show how far the actor is willing to go in striving for greatness. Most of the time, these singular efforts elevate a film’s overall quality and box office returns.
Yet, there’s something a bit off about “The Smashing Machine,” the first film from director Benny Safdie away from his brother, Josh. The film finds Dwayne Johnson actively trying to change everything audiences know and assume about him with a turn that would normally be considered Oscar bait but means much more for an aging action star entering the latter half of his career.
Heavily inspired by the verité documentary of the same name, “The Smashing Machine” is a slice-of-life portrait of early mixed martial arts star Mark Kerr as he grapples with opioid addiction and a volatile personal relationship outside the ring, while simultaneously being an unstoppable force inside the squared circle.
At the end of the day, the only major thing cinephiles will likely remember from “The Smashing Machine” is the amount of effort Johnson put into the role. A former pro wrestler himself, Johnson added another 30 pounds of muscle – and perhaps a pound or two of prosthetics – to change his appearance as much as possible to become the hulking Kerr. Though there’s just enough of Johnson in the visual that audiences will still recognize him, everything about Johnson’s performance here feels deliberate and considered.
Johnson pays special attention to Kerr’s physicality, as well as his unique speaking cadence and slightly pitched vocal tone. It’s a strong, engaging performance that speaks to Johnson’s capability of being a much better actor than his filmography might suggest, and to the promise that he could give with better material.
However, Safdie and Johnson are so focused on the singularity of Kerr and an overly textual commitment to the original documentary that much gets lost in the world of “The Smashing Machine.”
As Kerr’s girlfriend Dawn, Emily Blunt has a strong conviction and presence that far exceeds the thinly written character she’s forced to portray, who could easily be viewed as the film’s primary antagonist. For the only real female character in the entire film to come off as increasingly shrill, Blunt does a terrific job of giving some humanity to the character though Safdie is less interested in viewing Kerr and Dawn as a couple than the simple effect she has on his psyche.
Ryan Bader is the film’s breakout star, often stealing scenes from both Johnson and Blunt with his calm, humble demeanor as Kerr’s closest friend and training partner Mark Coleman and there’s a genuine authenticity to the dramatic work he delivers that is practically unfathomable from someone acting for the first time.
For many audiences, Johnson’s performance in “The Smashing Machine” seems to be hiding the significant narrative flaws and shortcomings of the film. There’s little actual forward momentum or character development over the course of the three years of Kerr’s life that the movie explores, and Safdie’s insistence on touching on so many different aspects of Kerr’s personal and professional life ultimately shortchange each of these.
While there are clearly attempts to weave Kerr’s addictions into the tumultuous relationship he has with Dawn, audiences never see enough of their relationship or chemistry to buy into their connection. How quickly “The Smashing Machine” pivots away from opioid addiction after a strong first act leaves the entire project feeling flat and empty.
Visually, Safdie leans into the verité, fly-on-the-wall cinematography style that gives his project a distant, documentarian approach with action sequences shot from entirely outside the ring to maintain this pseudo-voyeuristic approach.
Oscar prospects for “The Smashing Machine” appear rather limited outside of a potential Best Actor run for Johnson, though the stronger performance in Bader is unlikely to break into a significantly tougher Supporting Actor category.
Cinephiles hoping to see a different, more subtle side to a larger-than-life actor may want to seek out “The Smashing Machine” theatrically, but there isn’t quite enough to the overall film to warrant a rush to the box office ahead of its inevitable at-home streaming release.
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