The story of mixed-martial arts and UFC champion, Mark Kerr.
Chuck says:
Though it would be tempting to do so, brushing aside Benny Safdie’s “The Smashing Machine” as mere Oscar bait is a mistake. Bearing all the tell-tale signs of such a product, there’s more at play than simply shameless promotion. Granted, it does feature Dwayne Johnson in a role tailor-made to turn the heads of those who bestow awards and revolves around an underdog story, an element that tends to appeal to them as well. But there’s more at play in this character study masquerading as a sports film, Safdie’s script taking a deep dive in examining a man with an identity crisis, constantly at war with himself.
Mark Kerr was a pioneer in the brutal sport of mixed-martial arts. A hulking, mountain of a man, he stood 6-foot-3 and weighed 260 pounds. Though imposing in stature, there was a gentle side to him, one he kept contained whenever he stepped into the octagon to compete. A two-time champion, his reputation preceded him, and he was much in demand. The film begins in 1999 with Kerr (Johnson) negotiating to be in “Pride 7,” an international tournament in which he is set to appear, with an undefeated record. A previous injury nags at him physically and mentally, which is exacerbated by the arrival of his girlfriend, Dawn Staples (Emily Blunt). Needy and manipulative, she distracts Kerr with self-serving drama, leading to his first defeat and a sense of self-doubt the sends him on a downward spiral.
The bulk of the film deals with Kerr’s attempt to put this setback behind him, a typical set-up for a myriad of sports stories. However, there’s a conspicuous absence of training montages propelled by a blasting inspirational soundtrack in Safdie’s approach. Employing a handheld camera and using ambient sound, he creates a fly-on-the-wall aesthetic that creates a sense of intimacy that is, at times, uncomfortable to be a part of. The result is a more sincere portrait of the man, that no amount of cinematic bombast could duplicate. Witnessing Kerr deal with a substance abuse problem, repeatedly break down, and muster the courage to continue, has more import as a result.
Scenes depicting the continued strife between Kerr and Staples are more effective due to this approach as well. As we see her repeatedly push his buttons and his resistance to confront her, a palpable sense of dread develops. Safdie casts the viewers as witnesses to the emotional abuse on display, our frustration building due to our inability to intercede, our sympathy growing for Kerr as a result.
The film benefits greatly from the presence of genuine MMA fighters, chief among them, Ryan Bader appearing as Kerr’s close friend and confidant Mark Coleman. Though he has never acted in a film before, he shares the screen with Johnson and Blunt with a sense of confidence that’s surprising and delivers a sincere performance. Blunt continues to impress, delivering the kind of assured turn we’ve come to expect from her. She embraces Staples dysfunction to great effect.
As for Johnson, he seizes this opportunity to show he’s more than just an action hero, giving an unexpectedly nuanced and poignant performance. To close observers, this should come as no surprise. He’s also contributed a sense of genuineness to the many genre exercises he’s made his name in. Throughout “Machine,” he steps back, putting his physicality to the side, employing his expressive eyes and subtle movements to convey Kerr’s inner turmoil. Johnson has always been a commanding presence, but he arrests our attention through different means here, allowing us to concentrate on what makes Kerr tick rather than being overwhelmed by his imposing appearance.
Though the cage matches Kerr participated in may be “Machine’s” selling point, it’s the internal battles he wages that make the film worthwhile and unique. In many ways, far more damaging than the physical injuries inflicted, the conflicts in his mind and soul are what ultimately took their toll and it’s to Kerr’s great credit that he had the tenacity to overcome them.
3 Stars
