With his first endeavor into the emotional world, Dwayne “The Rock” Johnson delivers a powerful performance in the independent biopic “The Smashing Machine,” a film driven by aesthetics and post-production magic. However, throughout its two hour runtime, the flashing lights, moving camera and even Johnson’s exceptional acting start to wear thin.
The plot centers around Mark Kerr, played by Johnson, a former MMA fighter and two time UFC Heavyweight Tournament Champion, who is credited for being a pioneer within the MMA in the early 2000s. In tandem with action sequences, the film focuses on his whirlwind relationship with his girlfriend Dawn, played by Emily Blunt; his struggles with opioid abuse; and the pivotal friendship with fellow fighter, Mark Coleman, played by Ryan Bader.
Although this may seem like an odd concept for production companies to invest $50 million in, director Benny Safdie is recognized for what The Atlantic calls “capturing men on the downswing.” Safdie’s signature theme has proven successful in the critically acclaimed films “Uncut Gems” and “Good Time,” but “The Smashing Machine” did not employ enough material to make it the intense sports drama it is intended to be.
In the first half of the film, it is difficult not to be entranced with the visuals and excellent choices in sound design. The original use of strobe lights and glares adds a sense of haziness which evokes a similar effect of being knocked out in a ring.
The soundtrack includes recognizable and beloved songs, such as “My Way” by Frank Sinatra, mixed with an enchanting flute score that adds intensity to several scenes. The use of hand-held camera work and consistent movements keeps viewers amused, even in the duller sequences.
The casting choice to include former MMA fighters fared well. Each UFC competitor brought their own style, level of aggression and skill. Limited gore was necessary to portray the intensity of each punch and pummel. This helped boost the film’s credibility within the emerging genre of drama movies about professional sports.
The dialogue often comes across as unnatural and forced, at times proving difficult for even the talented cast to work with. A majority of the film’s interactions felt awkwardly scripted and merely served to carry the plot forward.
Additionally, the long, drawn-out arguments between Kerr and Dawn begin to feel like a fighting version of the 2019 film “A Marriage Story.” Perhaps the film would have performed better if its psychological aspect came more from Kerr’s battle with addiction or competing in Fighting Championship after his tedious training.
The weakest aspect of “The Smashing Machine” is the ending. The film quickly jumps to a scene about what has happened since that fight. All of which is followed by a quick ad for Ford and a complete loss of aesthetics from the rest of the film. While the concept of showing Kerr as a healthy man gives the audience a sense of relief, the sudden transition takes away its creative merit.
Regardless of all its shortcomings, there is still potential for Academy Award accreditations. Johnson immersed himself into this role with stunning results. His ability to portray a variety of emotions and carry a soft demeanor in such a large body will catch the eye of both critics and audiences alike.
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