🚨 CRASH! Dwayne “The Rock” Johnson’s The Smashing Machine just hit ROCK BOTTOM with a measly $6M opening—his WORST EVER! 😱 No explosions, no biceps flexing—just a gritty biopic that left fans cold. Outshined by Swift and DiCaprio, is The Rock’s star power crumbling to rubble? Insiders spill: “He bet big on drama, and it flopped hard.” Can he climb back to the top? Smash the link to uncover the brutal truth! 👇

Dwayne “The Rock” Johnson, once a WWE superstar, has been Hollywood’s unstoppable force, with films like Fast & Furious and Jumanji amassing over $15 billion globally. His larger-than-life persona and relentless work ethic made him a studio’s dream, a guaranteed draw for blockbusters. But on October 3, 2025, that aura cracked. The Smashing Machine, an A24 biopic about UFC legend Mark Kerr, debuted to a mere $5.9 million domestically, outshined by Taylor Swift’s concert film and Leonardo DiCaprio’s Western satire. It’s the worst opening of Johnson’s 25-year acting career. With a $50 million budget, the flop has ignited debate: Has The Rock hit rock bottom, or is this a bold but miscalculated step toward dramatic legitimacy?

Directed by Benny Safdie, known for indie hits like Uncut Gems and Good Time, The Smashing Machine dives into Kerr’s 1990s rise as a grappling champion and his fall into opioid addiction. Johnson plays Kerr, packing on prosthetics to hit 280 pounds, while Emily Blunt portrays his ex-wife Dawn Staples in a raw take on their stormy relationship. MMA fighters Ryan Bader and Bas Rutten add authenticity with cameos. Shot on 16mm film for a gritty, documentary-like vibe, the movie trades Johnson’s usual explosions for intimate fight scenes and stark addiction drama. It premiered at the Venice Film Festival on September 1, 2025, earning a 15-minute standing ovation and Safdie a best director award. Critics lauded Johnson’s transformation as a “revelation,” with Variety calling it a career-defining performance that quiets doubters of his acting range. At 73% Certified Fresh on Rotten Tomatoes, the film’s authenticity resonated, even if it lacked popcorn-movie appeal.

Yet, the box office was a bloodbath. Pre-release estimates projected an $8-15 million opening, propped up by Johnson’s 500 million social media followers and his promotional hustle, from UFC event appearances to Instagram Reels showcasing his grueling training. Thursday previews netted $850,000, a decent but underwhelming start for a star of his caliber. By Sunday, the domestic total hit $5.9 million across 3,345 screens, placing third behind Swift’s The Official Release Party of a Showgirl ($34 million) and DiCaprio’s One Battle After Another ($11 million in its second week). For perspective, Black Adam (2022) opened to $67 million, Rampage (2018) to $54 million, and even Johnson’s 2010 dud Faster pulled $8.5 million (unadjusted). Analysts estimate a $10-15 million loss for A24, though the indie studio’s lean model softens the blow compared to mega-flops like Indiana Jones and the Dial of Destiny, which lost $400 million.

What went wrong? The film’s niche pitch—a somber MMA biopic—clashed with Johnson’s action-hero brand. A24 marketed it as an Oscar contender, targeting festival crowds over mass audiences with Venice premieres instead of Super Bowl ads. Exit polls show Johnson’s core demographic—men over 25—made up 64% of ticket buyers, but the over-35 crowd, crucial for his Jumanji and San Andreas hits, stayed home. Women over 25 showed up sparingly, and the film lacked a “why now?” hook to lure casual viewers. Competing against Swift’s cultural juggernaut didn’t help; her concert film dominated premium screens, leaving Smashing Machine scrambling for scraps. Social media amplified the disaster narrative. A viral clip on X branded it “The Rock’s biggest flop,” racking up 1.8K likes and 500K views, with some users falsely tying it to “woke Hollywood” despite its apolitical focus. Another X post sneered, “Go woke, go broke—even The Rock can’t escape,” echoing gripes tied to films like Lightyear, which grossed $226 million on a $200 million budget. A YouTube rant titled “Total Disaster for Dwayne” drew thousands of views, fueling the pile-on.

Johnson didn’t duck the blow. On October 6, he posted on Instagram: “From deep in my grateful bones, thank you to everyone who has watched The Smashing Machine. In our storytelling world, you can’t control box office results—but what I realized you can control is your performance, and your commitment to completely disappear and go elsewhere.” He called the project life-changing, thanking Safdie for pushing his dramatic chops. Sources close to the actor told Yahoo he’s “heartbroken” privately, seeing the flop as a personal setback in his pivot from action flicks. Johnson’s preparation was brutal—he took a concussion from an unscripted punch by Blunt and spent months researching opioids, leaving him “emotionally rocked.” MMA Junkie praised the film’s accuracy, calling it a tribute to Kerr’s real struggles worth appreciating.

This isn’t Johnson’s first misfire. Black Adam (2022) grossed $393 million on a $190 million budget, a disappointment that fueled drama at DC and his brief stint as Seven Bucks Productions’ CEO. Red One (2024) limped to $100 million against $250 million, sunk by holiday competition. But The Smashing Machine stings more—it’s a passion project inspired by a 2002 Kerr documentary, aiming for The Wrestler-style Oscar buzz. Gold Derby’s Best Actor odds for Johnson dropped from 12-to-1 to 20-to-1 post-flop, though Blunt’s supporting actress chances hold at 8-to-1.

Social media was merciless. TMZ’s post—“Dwayne Johnson has his worst opening ever”—drew 90 likes and quips like “From People’s Champ to Box Office Chump.” IGN’s coverage of his statement earned 369 likes, with fans split: some called his response “classy,” while a YouTube clip titled “FLOPS AND IS LOWEST” racked up views. An X user noted the irony: “Struggled despite strong reviews,” while another praised his “graceful” reply. Misguided “woke” jabs surfaced, despite the film’s focus on personal demons, not politics—mirroring overblown backlash to Lightyear.

A24 remains unfazed. Known for slow-burn successes like Moonlight, which grossed $65 million on a $1.5 million budget, the studio’s $6 million opening likely covers marketing. International rollouts in the UK and Australia, starting October 17, could add $10-20 million if word-of-mouth builds. Comscore analyst Paul Dergarabedian sees VOD and streaming boosting profits, with awards buzz sustaining interest. Johnson’s next projects—a Fast X sequel and a Moana live-action role—return to safe blockbuster territory, signaling he’s not down for the count. An X user summed it up: “He’s not finished, but this hurts—Rock’s gotta pick smarter swings.”

Is The Rock at rock bottom? The numbers scream yes, but his hustle says no. The Smashing Machine may linger as a noble misfire, not a career-ender. As awards season approaches, a Best Actor nod could salvage the narrative—or cement the story of a champ staggered but still standing. Hollywood’s watching; the ring remains open.