The Venice Film Festival's Sala Grande erupted Monday night—15 and a half minutes of applause, hoots, and hollers that shook the chandeliers. Dwayne Johnson, all muscle and charisma, stood alongside Emily Blunt, director Benny Safdie, and the real-life MMA legend Mark Kerr, soaking in the love for The Smashing Machine. A24's gritty wrestling drama, Safdie's first solo directorial swing, premiered to a crowd that didn't just clap—they roared. Seth Rogen, snapping pics like a proud uncle, was there too, grinning from the press conference to the red carpet. You could feel the room hum with something raw, something real.
This isn't Johnson's usual popcorn fare. No skyscraper-jumping, no wise-cracking heroics. Here, he's Mark Kerr, the UFC's no-holds-barred icon from the ‘90s—a man wrestling addiction, love, and the brutal highs of victory. Under Kazu Hiru's prosthetics, Johnson disappears. Deadline's Damon Wise called it “truly remarkable,” noting how the film's opening, styled as 1997 Sao Paulo footage, feels like a time capsule. You'd swear it's Kerr, not The Rock, throwing punches. Emily Blunt, as Kerr's girlfriend Dawn Staples, grounds the chaos, while fighters like Ryan Bader, Bas Rutten, and Oleksandr Usyk add authenticity to the cage.
Safdie, speaking to the Venice crowd, zeroed in on why this story matters: the ‘90s MMA scene was a wild experiment—karate versus jiu-jitsu, brute force meeting technique, all in a tight-knit community where fighters loved as fiercely as they fought. “That contradiction,” Safdie said, “this fighting world, but this love between them—it was really beautiful to me.” He's not chasing a standard biopic. The Smashing Machine dodges formula, leaning into a free-jazz vibe with Nala Sinephro's ambient score. It's disorienting, abstract, always a step ahead. Some will love it. Some will scratch their heads. I'm in the first camp… mostly.
Johnson's own words linger. He's been here before—chasing box office, playing the Hollywood game. “I made those movies,” he told the festival, “and I liked them. Some were really good… some not so much.” But The Smashing Machine is his gut-check, his “what if there's more?” moment. Watching him embrace Kerr after the screening, you see it: a guy who's not just acting but excavating something personal. Blunt, too, radiates quiet strength—her Dawn is no mere sidekick but a tether to Kerr's unraveling world.
The film's production wasn't smooth. Whispers from the set hint at fight choreography scrapped and rewritten days before shooting, a crew sweating through a Venice heatwave to capture the grit. Yet it works. A24's backing ensured freedom, and Safdie's vision—produced by David Koplan, Johnson, Hiram Garcia, Dany Garcia, Safdie, and Eli Bush—lands with impact. It's set for U.S. theaters October 3, 2025, and already, the buzz is deafening.
Still, it's not perfect. The film's abstract approach might alienate fans expecting a tidy sports drama. Gorgeous. Grating. Gorgeous again. It's a tightrope walk—emotionally raw but occasionally distant, like a friend who overshares then clams up. Maybe that's the point. Or maybe not. I'm still chewing on it.
What's undeniable? Johnson's performance is a revelation, a reminder that even megastars can surprise. Venice proved it. The ovation wasn't just for the film—it was for a fighter, a director, a story that dares to be messy. Isn't that what cinema's for?
What You Should Know Before Seeing The Smashing Machine
A Star Transformed
Dwayne Johnson sheds his blockbuster persona, delivering a career-defining turn as Mark Kerr that's equal parts heart and havoc.
Safdie's Bold Swing
Benny Safdie's solo debut is no paint-by-numbers biopic—it's abstract, ambitious, and occasionally disorienting, with a killer free-jazz score.
Venice Loved It
The world premiere earned a 15½-minute ovation, with Seth Rogen and MMA legend Mark Kerr himself cheering from the crowd.
Not Your Typical Sports Flick
Set in the raw, experimental ‘90s MMA scene, it's less about fights and more about love, addiction, and the cost of winning.
Hits Theaters Soon
Mark October 3, 2025, for its U.S. release—expect buzz to build as A24 pushes this one hard.
So, Filmofilia readers, are you ready for Johnson's reinvention? Will Safdie's gamble pay off? Drop your thoughts below—I'm curious what you make of this one.
