There were Special Attraction to Fighters' MoviesAnd it's not just to do with the fascination of our (relative) civil society from violence, although it is certainly part of it. Indeed, this is because these stories distill so much of what is attractive to the drama in a narrow wicker package. For wit: The films for competitive fighters carry connotations to the sports film, but still for the individual, not for the team. They look at people who want to improve or win their opponents, as well as everything in between. These are stories that are not just about ambition, fame and the pursuit of excellence, but are also stories of fighting where the wounds have suffered both emotional and physically. In essence, these films act as allegories for so many of us who see life as a continuous period, and life, like humans, contains a multitude.

That's exactly what Benny Safdi's latest film, "The Smashing Machine", is breaking towards. The film is a dramatization of the life of Mark Kerr, the former extreme wrestler and fighter MMA (mixed military skills), who was a major figure during the growing popularity of the UC matches and pride during the late 1990s and early 00. Focusing primarily at the age of 13 when Kerr was active in the combat circuit, the film is nipples and everyone looks at Kerr's life at the time, touching his opioid addiction, as well as his rocky, often toxic with his girlfriend, Zora Staples (Emily). Playing Kerr is Dwayne Nsonson, and while Already done much for its transformative performanceIt is a little wrong to say that the actor is unrecognizable. Instead his work as Kerr is extraordinary for the way his The "rock" face is nowhere to be seenand has been replaced with the most famous character ever played by Nsonson. Safdie supports this play by making a movie that stands out from the head of filmmakers, while still contains so much of what makes them attractive. In the way Safdi makes the film reflect the living moral of real life, the "breaking machine" packs a subversive blow.

At first glance, Mark Kerr, as NSONSON plays in the "Breaking Machine", seems like an average protagonist of the fighting film. It is extremely strong, incredibly defined, fiercely competitive and has a magnetic charm for it, the type that makes it favors it to and out of the camera. In tandem, it is the general structure of the film plot, which contains most of the blows that it also expected in combat/boxing and biopic film: lifting Kerr fame and success, followed by an incident where his habit of drugs returns to haunt him, followed by a few more difficulties. However, Safdi never allows his film to feel as loud as it sounds.

The film immediately establishes a mixture of tones during the initial loans, as Ker excitedly talks about the interviewer about how the euphoric winning is felt as we see the man shooting his opponent in a bloody pulp. It is a statement that promises that the film is not a sentimental crowd like "Rocky" or a study of characters like "wrestler". Instead, the "breakthrough" has irresistible complexity of how a documentary. What is appropriate, of course, because the film is partly based on the 2002 documentary for Kerr, called "The Machine for Smashing: The Life and Time of the Extreme Fighter Mark Kerr". Fusion of the film about the documentary "Verisimilitis and Dramatic Depth" is a combination that Safdi has previously demonstrated in the films he made with his brother, Oshosh, and appears here in a great way. Cinematographer Makeo Bishop 16mm Cinematography gives the film a period that also increases the tactic of events, making it even less like a documentary and almost as you watch Kerr's home films.

Pan a little intended, but through all this, Nsonson is a rock that keeps the film in the center. He makes a Kerr man with many people while retaining the consistency of the character, a feat that several narrative films manage to make. In other words, whether Kerr is seen throwing a violent temper, or manipulating a pharmacy officer to give him more drugs or communicate with his fans, NSONSON Never portrays Kerr as a duplicate. Kerr of the "breaking machine" is never less than serious, at least in his mind. Nsonson's work here is not transformative and La Robert de Niro in "Raging Bull", nor is it introspective As with Mickey Rourke in the "wrestler". Instead, its stability on Earth is what is extraordinary, especially comes from a man who has previously played larger figures on both sides of the camera.

Only Nsonson's performance is worth the price of reception, but what makes the "breakthrough" the electrical dynamics between Mark and Dawn. Emily Blunt is a secret weapon of this film and is proof that both waters in this film are exploring new depths within their personal screen. While NSONSON is probably more pronounced, Blunt's transformation into dawn feels extraordinary when comparing to a large number of characters that has become known, who are primarily women inflicted with pronounced force. Contrary to Evelyn in "Silent Place", Kitty in Oppenheimer and Lily in "Jungle Cruise" (The film is first characterized by the pairing of Nsonson and blunt. In other words, while Mark's physics is immediately daunting, it may not recognize the potential of dawn for causing pain until it is too late.

As with the rest of the film, however, Mark and Dawn's link is not shown in black and white, but vibrant shades of gray. There is a ton of passion, something that even Mark's good friend, Mark Coleman (Ryan Bader), must reluctantly admit while rolling the eyes of the latest dawn cessation instead of intervening. Nsonson's pure confidence and blunt as performers allows them to go to places in the film that only increases his realism. As a result, there are several scenes of their fights that manage to capture the best of Johnon Kassavetti's work, verbal bars that stab as much as each kick in the ring. The pure intensity of the screen, in combination with the result of jazz-infusion to Nala Siphro, not only remembers Anxiety of Safi's "unwanted gems" But it makes the film feel like dramatizing a meat song. Or even early Springsteen; Of course, Darren Aronofsky may have got the boss to write an original song for "The Wrest", but Safdi uses "Jungleland" in the "Crush Machine" so masterful that it is difficult to say which movie best catches that spirit.

While the scenes to combat the film (both in and out of the ring) of course they reach the staggering heights of the "unwanted gems" of the Safdi brothers and "Good Weather", Benny Safdi is not trying to compete directly with or the best of those films. In other words, the "breakthrough machine" is not a long, incessant odyssey in anxiety. Instead, it's a surprisingly gentle film. This tenderness is often contrary to Safi's appeal for ironic separation. It is especially noticeable when the film deals with more unwanted aspects of Mark's life and behavior, which can leave the film to feel emotionally cold at times-this is not crying from an Oscar-bait. Adding that sense of separation is the pure unpredictability of the film; As I said earlier, the "smashing machine" does not fit the typical strokes of the sports film or biopic, leaving it feels like it is not collected until the very end.

However, when that conclusion is finally reached, the film manages to evoke a catharsis that is undoubtedly unique, and it is a quality that can be seen threaded during the film. There are moments of sublime, quiet tenderness during the film, and there is a scene that will be forever inserted into my mind after watching it, in which Mark patiently (and uncomfortable) waits for dawn while she drives Gravitron to the fair. These are these little moments that Safdi, Nsonson and blunt find all over the film, which add to the cohesive and incredibly complex whole. For the audience, iousubopite to know the curved and outbursts of the early days of the fight against the MMA, you will be better served by looking at the 2002 documentary. However, if you are more iousubopitic for those involved, and if you are someone who feels like a winner or a loser (or, more to the point, both at once) in the big game of life, then the "breakthrough" is for you.

/Movie rating: 8 out of 10

The "Machine Machine" premiered at the Venice Film Festival and is scheduled to be announced in theaters on 3 October 2025.