TIFF Review: Benny Safdie and Dwayne Johnson Compellingly Take a Documentary-Style Approach to ‘The Smashing Machine’

Once upon a time, the UFC was not the giant sports industry that it is now. In the sport’s early days, the mixed martial artists and other tough guys competing did so in something more closely resembling anonymity. That obviously begs the question of why these guys would put their bodies through such carnage? Well, The Smashing Machine, playing currently at the Toronto International Film Festival, seeks to answer that question. In doing so, it becomes one of the more compelling movies of the year so far.

The Smashing Machine takes a quasi documentary-like approach to telling the story of UFC pioneer Mark Kerr. Interestingly, it’s doing so while more or less adapting the documentary on the same subject, The Smashing Machine: The Life and Times of Extreme Fighter Mark Kerr. Obviously, Kerr’s story is fascinating, as is the way it’s depicted here, which takes all of the sports drama cliches and dials them back. That way, the film is far more observational and even quiet than you might be expecting.

This is the story of MMA/UFC pioneer Mark Kerr (Dwayne Johnson). In the early days of the sport, Kerr was instrumental in helping to grow its popularity, with a massive toll on his massive body. Gigantic yet soft spoken, he was a bit of a paradox, especially when you compare his gentle nature with the absolutely brutal nature of the fights. The demands would eventually lead to a painkiller addiction, which was compounded by how often fighters needed to travel to make any money, often to Japan.

Kerr was supported as much as he was tormented by his turbulent relationship with Dawn Staples (Emily Blunt). She fiercely supported him, though she would fight with him as harshly as any of his opponents in the ring. As Kerr deals with trying to stay clean, as well as train with friend and fellow fighter Mark Coleman (Ryan Bader) for a hugely profitable tournament, Dawn’s presence becomes a focal point. Kerr may have to go through Coleman for a big payday, and vice versa, but his battles at home may be even fiercer.

Dwayne Johnson does manage to upend expectations with this quiet yet immensely physical performance. Turning down some of his movie star charm and making the charisma on display merely an essence, Johnson inhabits Mark Kerr. He finds a way to make this gigantic human both gentle and imposing. He also has some real showcase moments opposite Emily Blunt, especially a real knock down argument in the third act (more on that in a moment). Blunt also disappears into the part and does excellent work, even if the screenplay doesn’t seem to like Dawn very much. In addition to Ryan Bader’s strong supporting turn, the cast is littered with fighters, including Bas Rutten, among many others.

Filmmaker Benny Safdie makes his solo debut writing an directing The Smashing Machine. He really embraces the documentary feel, putting you right there in every scene. It almost exclusively works, and when he allows for more traditional directing, you get the intended effect as well. A highlight is the big aforementioned argument, which has Bruce Springsteen‘s song Jungleland playing, nearly in its entirety, in the background. The crescendo to the tune and the fight really just works. If there’s a flaw here, it’s that the script, which is very light on plot (though observational in a way that succeeds), does Dawn a little dirty.

The Smashing Machine is not a traditional sports biopic in any way, shape, or form, and it’s all the better for it. The drama feels more human, the stakes more realistic, and the people actually human beings. Johnson and Safdie go all in on Kerr’s story, which will resonate far beyond TIFF. This does feel like an awards player, whether or not it goes the distance.

SCORE: ★★★1/2