Dowen Johnson MMA DRAMA packages sabotage punch

There was A special attraction for films about the fightersAnd it is not only related to the magic of civil society (relatively) with violence, although this is definitely part of it. Really, this is due to the distillation of these stories a lot of convincing drama in a coherent package. To Al -Tarafa: Films about competitive fighters carry the signs of the sports film, yet it revolves around the individual, not the team. They look at people who want to either improve themselves or conquer their opponents, as well as everything between them. These are tales that are not only related to ambition, fame and the pursuit of excellence, but also stories about the struggle as they suffer from emotional and physical wounds. In essence, these films act as a harmony of many of us who look at life as a ongoing seizure, life, just like people, contain crowds.

This is exactly what The latest movie for Benny Safdie, “The Smashing Machine”, punctured. The film is a large collection of Mark Care’s life, a former extremist wrestler fighter and a MMA fighter (mixed martial arts), which was a major figure during an increasing popularity in UFC and PRID competitions throughout the late 1990s. Focusing mainly on the 13 years when Kerr was active in the fighting circuit, the film is a look of warts and all on Kerr’s life during that period, and he touched on his opium addiction as well as his rocky relationship that is often with his girlfriend, Dawn Staples (Emily Blunt). Kiir’s play is Dwayne Johnson, and while Many already make his transformative performanceIt is a little wrong to say that the actor cannot be recognized. Instead, his work is like a great Kiir for the way he The character “The Rock” is not anywhere it can be seenAnd Johnson’s most multiple character replaces. Safdie supports this performance by making a movie that distinguishes itself from the abundance of films about the fighters, while continuing to make it convincing. In the way Safdie makes the movie a reflection of the mercury ethics of true life, “The Smashing Machine” packs sabotage punch.

At first glance, Mark Care, as Johnson played in the movie “The Smashing Machine”, appears as if he were the hero of an average fighting movie. It is exceptionally strong, incredibly designed, is strongly competed and has a magnetic magic for him, which is the type he prefers inside and outside the camera. Along with this is the general plot of the film’s plot, which contains most of the rhythms that one expects in both the fighting/boxing and biography film: Kiir’s rise to fame and success, followed by an accident in which drugs usually return to chasing him, followed by more difficulties, all of which lead to final climatic thinness, and so on. However, SAFDIE never allows his movie that by heart like this looks like this.

The film immediately creates a rapprochement of tones during the opening credits, as Kiir talks enthusiastically to one of the interviews about how to win the joy while we see the man hitting his opponent in the blood core. It is a statement that the film is not an emotional tremor like “Rocky” or a dilapidated personal study such as “The Wrestler”. Instead, the “smashing machine” has an irresistible complexity closer to a documentary. It is suitable, of course, because the film is partially dependent on the 2002 documentary on Kiir called “The Smashing Machine: The Life and Times of Extreme Fighter Mark Kerr”. The documentary film of the documentary and dramatic depth is a mix that Safdie has previously shown into films he made with his brother Josh, and it comes here greatly. The film film Maceo Bishop gives the film a period that also increases the ingenuity of events, making it feel less similar to a documentary film and like watching Kerr’s home movies almost.

The intention is a little bit, but through all of this, Johnson is the rock music that keeps the movie. It makes Care a man of many faces while maintaining the consistency of the character, an achievement that has managed to achieve a few narrative films. In other words, whether he sees Kiir throwing a violent anger, or treating a pharmacy writer to give him more drugs, or interacting with his fans, Johnson never depicts Kiir as double. Kerr of “The Smashing Machine” is no less than my grandfather, at least in his mind. Johnson’s work here is not transforming into La Robert de Niro in “Raging Bull”, as he is not a beneficiary As with Mickey Rark in “Al -Masara”. Instead, its modest stability is what is great, especially the one coming from a man who previously played older characters on both sides of the camera.

Johnson’s performance alone deserves the acceptance price, but what really makes the private “destruction machine” is the electrical dynamic between Mark and Dawn. Emily Blant is the weapon of this secret film, and it is evidence that both threads in this film are exploring new depths within the screen characters. While Johnson can be said that it is more clear, Plannet turns into dawn looks great when compared to the countless number of the characters that have become known, and that are implanted primarily with a clear power. In a blatant contradiction with Evelyn in a “quiet place,” Kitty in “Obenheimer”, and Lily at “Jungle Cruise” (The film is first characterized by Johnson’s conjunctionPlanet was noticeably broken like dawn, allowing women’s qualifiers and a tendency to emotional blackmail through an external display of stability. In other words, while Mark’s physical fitness immediately frightens, one may not recognize the possibility of dawn to cause pain until it is too late.

As with the rest of the movie, the Mark and Dawn relationship was not filmed in black and white, but pink gray shades. There is a lot of emotion, which is what even Mark Mark’s friend Mark Coleman (Ryan Badr) must reluctantly admit as he drew his eyes in the last dawn race instead of intervention. Johnson and Blunt allow them to be clear confidence with each other, as performance artists are allowed to go to places in the film, which only increases realism. As a result, there are many scenes to fight them that managed to capture the best John Casavite work, and the verbal air like any of the kicks in the ring. The tremendous density offered, along with the Sinephro Terminal, which is dominated by jazz, not only remember “The precious stones” But makes the movie feel like a theatrical for the song of the meat. Or even the first Springstin; Certainly, Darren Arenovsky may have obtained a coach to write an original path for “The Wrestler”, but Safdie uses “Jungleland” in “The Smashing Machine” brilliantly to the point that it is difficult to determine the movie that captures this spirit better.

While fighting scenes in the movie (inside and outside the ring) definitely reach the amazing highlands of the Safdie “GEMS” and “Time Time”, Benny Safdie does not try to compete directly or the best of these films. In other words, the “destruction machine” is not a long Odyssey that does not shake in anxiety. Instead, it is amazingly nice. Often this tenderness conflicts with Safdie’s mile for satirical separation. It is especially noticeable when the film deals with the most cruel aspects of Mark’s life and behavior, which can let the movie feel emotional cold at times-this is not an Oscar taste. In addition to this feeling of separation is the inability to predict the film; As I said earlier, the “smashing machine” does not correspond to the typical rhythms of the sports film or the CV, which makes it feel like it does not meet completely until the end.

However, when this conclusion is finally reached, the film can evoke an uniquely unique vent that is a quality that can be seen on a mattress throughout the film. There are moments of high tenderness and calm during the movie, and there is one scene that will be guaranteed forever in my mind after watching it, as Mark is waiting for patience (and profitable) dawn while riding on an attractiveness in an exhibition. It is these small moments that Safdie, Johnson and Blunt find all over the movie, which adds up to a noticeable and complex full. For the audience that raises curiosity to know the peculiarities and generalities of the first days of MMA fighting, it is best to serve by watching the 2002 documentary. However, if you are more curious about the people concerned, and if you are a person who feels either a winner or a loser (or more, at extent, at one time) in the big life match, the “smashing machine” is suitable for you.

/Film classification: 8 out of 10

“The Smashing Machine” was shown for the first time at the Venice Film Festival and is scheduled to be released on theaters on October 3, 2025.