THE SMASHING MACHINE
(15) 123 min
★★★☆☆
3
WHEN big stars take parts that require them to alter their face with prosthetics it’s often a sign they want to be taken more seriously.
Think Steve Carell in Foxcatcher and Bradley Cooper in Maestro.
In The Smashing Machine — director Benny Safdie’s biopic of UFC heavyweight champion Mark Kerr — it’s Dwayne ‘The Rock’ Johnson’s turn to sit in the make-up artist’s chair.
Signalling a departure from the typical action hero roles he is best known for, Johnson’s nose, lips, eyebrows and hairline are transformed to play the fighter.
He’s not totally unrecognisable, though.
A professional wrestler himself, The Rock already had the fighter’s hulking physique.
Acting muscles
And he’s in familiar territory being on screen with his trademark biceps on display.
But here he proves he absolutely can flex his acting muscles too.
American amateur wrestling champion Kerr became one of the pioneers of MMA at the turn of the millennium, well before the sport became the worldwide phenomenon it is today.
We meet him as an unbeaten man, skilled at then-permitted, wincingly violent moves like eye gouges, who lives to win, and who can’t comprehend the thought of losing.
But as painkiller addiction takes hold and Kerr succumbs to his first ever defeat, he returns home a human wrecking ball, tearing his house apart in sheer frustration.
Johnson depicts this rage-fuelled tantrum with real proficiency so we can understand it as a loss of control underpinned by a deep vulnerability.
Emily Blunt, excellent as his girlfriend Dawn, can only look on as the “big man who she loves” demolishes their kitchen with his bare hands.
The real Kerr eventually acknowledged and overcame his narcotic reliance, returning from rehab to the ring.
As a sporting tale, this is in familiar triumph-over-tragedy territory, with no surprises.
While the performances are gripping, the script lacks nuance.
Is this brutal watch a knockout? No, not completely.
But will the prosthetics pay off for Johnson come awards season?
They just might.
A HOUSE OF DYNAMITE
(15) 112mins
★★★★★
3
KATHRYN BIGELOW has done it again, this time turning the camera on the nightmare we all pretend that we can ignore – a nuclear strike.
The director’s tense, claustrophobic, brilliantly staged film grips you from the very first frame.
The story is simple and terrifying – an 18-minute window between a rogue missile launch in the Pacific and its projected strike on Chicago, seen from multiple perspectives.
Every decision, every glance at a screen, every phone call carries huge weight. Uncertainty is the enemy here, and Bigelow wrings every ounce of drama from it.
The cast is flawless. Idris Elba is compelling as a President caught between disbelief and duty, while Rebecca Ferguson delivers a career best as security specialist Captain Olivia Walker.
Elsewhere, Jared Harris, Gabriel Basso, Jonah Hauer-King and Anthony Ramos bring depth as they try to hold a crumbling chain of command together.
It isn’t just a thriller, it’s a heart-stopping meditation on human fragility. If you want cinema that makes you feel the weight of the world in real time, this is the one.
LINDA MARRIC
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HIM
(18) 96mins
★☆☆☆☆
3
HORROR film Him feels like it has been stitched together from a dozen better movies, without ever finding a soul of its own.
In short, this is a mess.
The story follows Cameron (Tyriq Withers), a hotshot quarterback whose bright future is thrown off course after a brutal injury.
When retired legend Isaiah (Marlon Wayans) invites him to a secluded training camp, it feels like a chance to rebuild, stronger and faster than before.
But the deeper Cameron steps into Isaiah’s world, the more unsettling it becomes.
Produced by Get Out, Us and Nope director Jordan Peele, Him’s fatal flaw is its emptiness. For long stretches, nothing happens.
Characters drift around muttering ominous nonsense, occasionally raising their eyebrows at the weirdos around them, before going right back to ignoring the obvious.
Withers and Wayans put in respectable perform-ances but the dialogue is clunky, the pacing is dead on arrival and the supposedly shocking reveal is anything but. Even the stylistic additions feel less like art and more like padding for a story that never gets to the point.
Bleak, boring and painfully pretentious, Him isn’t just a bad horror film, it’s the kind of bad movie that thinks it’s being very clever.
LINDA MARRIC