Sun Sep 21 13:30:00 UTC 2025: **News Article:**

**Safdie’s “The Smashing Machine” Remake Fails to Land a Knockout Punch Despite Johnson’s Powerful Performance**

NEW YORK – Benny Safdie’s highly anticipated remake of the 2002 documentary “The Smashing Machine,” starring Dwayne “The Rock” Johnson as MMA fighter Mark Kerr, has been met with disappointment. Critics are calling the film, a retelling of Kerr’s rise and fall between 1997 and 2000, artistically redundant and lacking the signature visual flair Safdie is known for.

The film faithfully recreates elements of the original documentary, but it fails to capture the raw brutality and emotional depth of Kerr’s struggles with addiction and his relationships with his friend Mark Coleman (played by Ryan Bader) and girlfriend Dawn Starr (played by Emily Blunt). The fight choreography is described as “anemic” and sanitized, and the film’s attempts to recreate graphic scenes from the documentary lack the same impact.

Emily Blunt’s portrayal of Dawn Starr is particularly criticized, with the actress playing Starr as a cartoon mob wife. The film’s increased focus on the romantic subplot is considered a misstep, with an overwrought argument set to Bruce Springsteen’s “Jungleland” being singled out as a bizarre miscalculation.

Despite the film’s shortcomings, Dwayne Johnson’s performance as Mark Kerr is being lauded as a career highlight. Critics praise Johnson’s commitment to portraying Kerr’s vulnerability, addiction, and inner turmoil. Johnson fully embodies the character, delivering a selfless and honest performance that is both ugly and captivating.

Despite Johnson’s efforts, the surrounding film fails to support his performance. The film hints at deeper themes such as emasculation, the contrast between domestic life and the ring, and Kerr’s relentless pursuit of physiological extremes. However, these ideas remain underdeveloped, leaving the film feeling disjointed and uninspired.

“The Smashing Machine” appears to be a disappointment for Safdie. The movie is formulaic and transparently manipulative, catering to the current cinematic landscape with its stunt casting, period-accurate settings, and gratuitous use of analog film for “texture.”

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