If the roles of Dwayne ‘The Rock’ Johnson (Jumanji: Welcome to the Jungle 2017, Red One 2024) have all seemed similar for the past decade and change, it might be because of the no-lose clause in his contract. He is not the only muscle man in Hollywood to have one (see Vin Diesel), but it stood out more with Johnson, as it sucks the air out of his action roles. If the odds are already in Johnson’s character’s favor, then it takes the suspense out for viewers in the know.
Which might be why Johnson decided to pivot from Hollywood blockbusters to, of all things, a gritty A24 picture. Written and directed by Benny Safdie (Heaven Knows What 2014, Uncut Gems 2019), The Smashing Machine arrived in theaters on October 3, 2025, and is about Mark Kerr (Johnson), one of MMA’s pioneer fighters, who earned his titular nickname for doing what he did best: smashing his opponents with hard punches, kicks, knees and headbutts. He seemed invincible as he went undefeated during the first few years of his career.
However, outside the octagon, his life was more fraught. Between his dependency on morphine, his stormy relationship with his girlfriend Dawn Staples (Emily Blunt: The Devil Wears Prada 2006, Edge of Tomorrow 2014), pay and rule disputes with Japanese MMA organization PRIDE, and newer, more challenging opponents like Igor Vovchanchyn (Oleksandr Usyk: The Fight Rules 2016, Reignited 2024), Kerr ends up in a situation where he cannot smash his way out of his problems.
It is an easy movie to be cynical about. Johnson, who got by in Hollywood primarily on his frame and charisma, is trying to play a more serious role where he has to do more than quip and punch people. Who does he think he is? Dave Bautista?! People have already commented on its lagging box office since its cinematic release. Yet, Johnson was unbothered, saying, “You can’t control box office results, but…you can control your performance”, and that “this film changed my life.”
So, how did he do? And how is the movie overall? Well, it is undoubtedly dedicated to the late 90s-early 2000s aesthetic. The VHS quality intro could almost make people think they were watching archival footage of Kerr in action, until they hear Johnson’s voice coming from Kerr’s mouth. Even when it switches to HD visuals, the color balancing, locations, props, etc., do a great job of replicating the era. Why invest in time travel when Safdie’s crew can send viewers back to 1999 with a touch of film grain, some light hue mixing, and diegetic use of Sugar Ray.
The sound design is also convenient. Sure, the musical additions like the Elvis covers help set the mood. But the sound effects really help build the atmosphere for most of its scenes. They make it worth seeing in a good cinema for them alone, as viewers could really feel the floor shake when Vovchanchyn’s notoriously powerful punches hit their mark. Why throw in exposition about them when a good sound producer can help show it instead?
That said, it helps that there was an identically named documentary about Kerr made back in 2002, as quite a few scenes in the movie match those in the documentary. It is almost shot-for-shot in some situations, like Kerr’s friend and trainer Mark Coleman (Ryan Bader: The Ultimate Fighter TV series) visiting Kerr in the hospital. Outside of these similar shots, it goes for a drama-documentary-style shoot, where it feels like Kerr and co are being followed by an invisible camera crew, recording them from a distance on bridges, roadsides, etc, or up close at PRIDE press conferences, backstage at the Tokyo Dome, etc.
But they are used creatively. Like the sound design, many scenes are framed to showcase their visual storytelling. The growing rift between Kerr and Staples, and Staples’ own descent into alcoholism, is told just as much through their difficult dates and Staples’ escape to the clubs as in their volatile arguments. That, and to help cover any joins, as some may suspect that medium shots of Johnson wearing a cap and shades were intended to navigate scenes where he was not wearing his prosthetics.
To resemble Kerr more closely, Johnson wore prosthetics designed by TIFF Variety Artisan Award winner Kazu Hiro (Planet of the Apes 2001, Darkest Hour 2017), which make the star look more like the real Smashing Machine. They work out pretty well, too, especially compared to other efforts, like Anthony Hopkins’ look in 2012’s Hitchcock, where he resembled neither himself nor Alfred Hitchcock. But no number of prosthetics could fix things if Johnson’s performance was lacking. Luckily, he does a good job here for the most part.
He obviously has the physical chops, being the size of the house and getting Kerr’s ground-and-pound style down during the few fight scenes. He is at his best in fights outside of Vale Tudo and PRIDE too, showcasing his subtle-yet-unsubtle jonesing for painkillers, his dedication to getting clean, and trading barbs with Blunt, be it nitpicking, nagging, or full-on shouting bouts. He even replicates Kerr’s own gestures for his few crying scenes, including covering his face, which helps because he sounds shaky during those moments.
Even though he is going all-out here, the best performance in the movie comes from Blunt as Staples. On top of having more emotions to express, from partying hard to the doldrums of depression, she really does a good job of playing a tricky character. She is alternately sympathetic and problematic, as Kerr’s issues drive her to the edge, yet she gives as good as she gets by the second half as she develops her own problems.
The supporting cast comes off well, too, with Bader being rather affable as Coleman. The same goes for Bas Rutten (Paul Blart: Mall Cop 2009, Here Comes the Boom 2012), given that he is playing himself. The biggest issue with them, and the movie as a whole, is its pacing. The way the story plays out feels clunky at times as some seemingly key scenes get breezed past or happen off-screen. Kerr’s rehab, his connection to Rutten prior to training for the 2000 PRIDE Grand Prix, Staples’ issues with Rutten and Coleman, are more inferred than shown.
As such, The Smashing Machine is not a creative flop. It is a compelling sports drama that effectively showcases real events in a realistic way, as if it were putting viewers right at Kerr’s side during its events, albeit at the cost of its narrative pace. Johnson holds his own as a fighter, fearing his first actual loss, even if Blunt shines more as the cure and catalyst for his personal issues. Here is hoping Johnson takes more risks like this, as it is a promising start to more dramatic roles. Hence, Cryptic Rock gives The Smashing Machine 3.5 out of 5 stars.
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