Dwayne “The Rock” Johnson is diving headfirst into the octagon with “The Smashing Machine,” a raw look at UFC legend Mark Kerr that strips away Hollywood gloss for 16 mm grit. The A24 biopic directed by Benny Safdie captures Kerr’s brutal rise and painkiller-fueled fall with documentary-like authenticity.
Johnson’s physical metamorphosis for the role has fight fans buzzing. Sporting a prosthetic-enhanced frame, period-accurate wig, and altered speech pattern, The Rock vanishes into Kerr’s imposing presence. He recently shared footage of his elbow injury on Instagram, quipping it “looks like I have a cantaloupe in the bottom of my elbow” while channeling his late father’s wisdom: “A day without pain is like a day without sunshine, boy.”
UFC President Dan White hasn’t minced words about Johnson’s commitment: “I know how serious he’s taking this… I think this could be the opportunity for The Rock to actually be nominated for an Oscar.”
Filming wrapped after an intensive three-month shoot across New Mexico, Tokyo, and Vancouver (May 21 to August 7, 2024) — a schedule detailed on Wikipedia. Cinematographer Maceo Bishop captured everything on 16 mm film, creating the grainy texture that mirrors early-2000s fight footage and roots viewers in the turn-of-the-millennium MMA world where Kerr dominated as a two-time UFC Heavyweight Tournament Champion and four-time ADCC World Champion.
The film’s authenticity extends beyond visual style. Kerr himself holds a writing credit and served as an on-set consultant, ensuring his story, both in and out of the cage, rings true. He recently endorsed the project on social media, expressing he “remains in disbelief… so proud of the work DJ put into becoming The Smashing Machine.”
Johnson’s preparation transcended typical Hollywood training montages. He documented his “humbling, intense and motivating” MMA camp on social media, working alongside genuine fight royalty. Former UFC heavyweight champion Bas Rutten (who appears as himself) oversaw Johnson’s ground-and-pound technique, while other combat sports icons like Oleksandr Usyk (cast as Igor Vovchanchyn) and Ryan Bader (as Mark Coleman) bring legitimacy to the fight sequences.
Emily Blunt, playing Kerr’s wife Dawn Staples, described the production as “an incredibly immersive, very intense, very emotional experience” on her Instagram, hinting at the film’s unflinching look at both athletic glory and personal demons.
Drawing from John Hyams’s 2002 HBO documentary on Kerr, Safdie’s screenplay doesn’t shy away from the fighter’s struggles with opioid dependency. Medical consultants helped shape these scenes to avoid sensationalism while honoring the real impact of addiction on elite athletes.
The official trailer dropped April 29 on A24’s YouTube channel, showcasing not just bone-crushing fight moments but quieter, character-driven sequences that explore the physical and emotional toll of combat sports.
“The Smashing Machine” hits theaters October 3, 2025, marking Johnson’s deliberate pivot toward more demanding dramatic work. As he stated: “I’m at a point in my career where I want to push myself in ways that I’ve not pushed myself in the past. I want to make films that matter, that explore humanity, struggle, and pain.”
With Johnson’s transformative performance, Safdie’s indie pedigree (including his first solo feature debut), and A24’s award-season track record—already hinted at on the festival circuit—industry watchers are floating Oscar possibilities: a potential career turn for The Rock that nobody saw coming.
