Only two types of actors are bad: those who cannot be themselves, and those who you do not want. Everyone else, most likely, will shine in films with good directors, and most actors, whose reputation was not artistic, was mainly unfortunate in their cooperation. Dwayne (The Rock) Johnson has long been in my private pantheon of the actors who have been waiting for his demonstration since his performance in Michael Bay “Pain and winSince 2013. Since then, Johnson has accumulated a blow to the hit without stretching his artistry; Now, in the main role of “The Smashing Machine”, Benny Safdi Bi-pica about the former star of mixed elements of Mark Kerra, Johnson performs significant work to attract a worthy of life, a great role, becoming a role, becoming an adoplic, trying, and it is still quite higher. This performance of talent and accuracy conveys emotions to the script that lacks it.
The “shock machine”, which Safdi both wrote and directed, depicts Mark (the character, as in 1997, in 1997, in 2000. This period begins with victories and growing glory, if his achievements are next time, and threaten his problems with his girlfriend, his friends-in EM-e-e-e-e-e-e-f-u-e-f-u-e-f-u-e-f-u-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-u-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-u-u-u-oh performances Em-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-e-money tournament, which owes its highly financial rates with its earlier success. The fighter, as well as the personality traits that contribute to both;
It is here that Johnson's acting appears. Paradoxically, its performance draws power from a narrow focus of Safdi’s letter, which allows him to determine a specific feature, sensation or impulse that illustrates each scene, breaking them together like tiles in a mosaic to form a brand character. The most exciting of these features are shown in the early stages, when a journalist of interviews with marks after his first triumph. As Mark describes his strategies, his thoughts quickly disperse the features of sports and acquire a philosophical dimension. He begins with a simple part: his need to “fully defend” himself on his opponent. Then he creates a victory in psychological terms, saying: “I am going to physically impose my will” in the ring in the ring, who has the courage to fight him: “You really feel when this happens when a person simply lets go and completely lies your hands.” He describes the infliction of pain in bloody details, and, as if hearing the consequences of his own thoughts, says that everything was “felt very evolutionary”, the harsh word in the side of the actions and emotions that he recognizes the atavist and wild.
The SAFDIE presentation about these comments is an understanding of the brand that deeply and deeply anxious, about mixed martial arts and, possibly, all martial arts – the direction and professionalization of cruelty. The scene sets a tone for the whole film, but this is a height that Safdie cannot withstand. He makes a rational film on an irrational object, an external film about the history of subjective depths. Safdi, obviously, is fascinated by the psychology of the fighter, but he does not successfully dramatize the extreme experience of Mark – with the exception of a negative form, due to his difficulty in accordance with the norms of the non -combatant lifestyle.
Mark lives with dawn in soft comfort in a suburban Phoenix, but there is nothing soft in how he earns a living and the conditions that this imposes on his daily place, a huge stress on the relationship of the couple; Don thinks about Mark's sports career as a job, while for him this is a complete lifestyle. He declares, before another match, that in order to succeed, he must remain “concentrated on a hundred cents”, otherwise his “emotions will run everywhere,” and some of the most amazing moments of the film, and some of the most impressive acting actions by Johnson-INVOLVE MARK Concentration, when the events get out of control. His home life entails established modes, including accurate dietary requirements, and when the dawn incorrectly receives the ingredients of his morning cocktail (skim milk instead of the whole, one and a half banana), he does not flare and does not even criticize, but he will abruptly throw it away and makes himself different. His terrible calm seems to annoy the dawn even more than an openly emotional confrontation.
The dawn (a heavily canceled character, which the Blunt causes with pure acting) is a dedicated and sympathetic, but not related to the absolute, quasimonastic nature of the sports calling of the brand. (The script never makes it clear whether their relations were different before his fighting debut.) She joins him in the gym and helps him to stretch, but her inability to test loneliness at the basis of his persecution leads her to a reckless solution, which is ultimately. This leads to the best dramatic scene of the film that plays with the rational strengths of Safdi. When Mark is in Japan to make his debut on a circular highway called pride, Don flies and surprises him there, appearing in his locker room at the moment when he is preparing to enter the ring to battle. He barely recognizes her presence, inserting himself into a tightly controlled state of ferocity of pressure, so much focused and isolated, separated from all other problems and thoughts that she asks him, high he. (Giving him attention, she simply breaks his trance and, as clearly, is partly to blame for his bad results.) Johnson's performance is transcendental here in his simplicity; Making as little as possible with the help of willpower, demonstrating intensive remoteness and active impartiality, he amazingly causes a competitive self -propelled athlete.
