Bouncer Movie – This is a delightful and straightforward no-nonsense case of JCVD. It also gives JCVD a chance to expand his dramatic repertoire and the man succeeds again. It’s a simple story of double-crossing, a thriller about fakes, cover-ups and general crime. On the DTV album, French director Julien Leclerc’s cinematography and direction are amazing. Inspired by movie scores and many other Hollywood hits, “Jump” is based on battle scenes and is realistic in its execution.
JCVD continues his good looks with another dramatic turn under his belt. There’s a job interview where JCVD gets to flex his muscles against another 6-and-over fighter with a hostage situation and a proper finale.
Overall, “Bounce” is fun and enjoyable. It goes without saying that JCVD still loves to kick ass and show off the dramatic variation of his aging. Despite the low budget, the fight scenes are still an enjoyable experience for action and JCVD fans. Yes, it’s far from its prime, but for a B-motion DTV flash, it could have been worse. Like other Julien Leclerc directors, The Jump (aka Lucas) is featured. , the city, almost the whole world. The settings and stories focus on the abused and neglected, and this film is no different.
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It’s a different thing to see Jean Claude Van Damme in this world. The film differs from the colorful action extravaganza that audiences have come to expect from Van Damme.
It’s a far cry from movies like General Soldier, Street Fighter or The Amazing Spider-Man. Lately, Van Damme has been known for more meta film/TV roles, either his role in JCVD or his somewhat humorous version of his TV series counterpart, Jean-Claude Van Johnson.
The first collaboration between Leclercq and Jérémie Guez has influenced the landscape of French urban cinema in recent decades, with hints of Le Haine (1995) and Un Prophète (2009). Bouncer.
Over-the-shoulder camera angles allow the audience to feel like they are at the center of the action, part of the fight scenes and emotionally connected to the central characters.
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The film tries too hard to replicate this style, slowing down the story, limiting the dialogue and focusing on Van Damme’s emotional intimacy. As such, it is no longer an action film, but a drama with a few fight scenes.
It’s a study of Lucas’ character and what he and his daughter have to do to survive day to day after the death of his wife.
In some ways, this approach works. For Van Damme, the less dialogue, the more real and authentic the film feels. He is a strong, quiet guy. His body was laid to rest for his family. Van Damme’s expressive face and brooding gaze only support these aspects of his character.
The music supports the urban and upbeat atmosphere with beats and emotional notes that grab the audience’s attention. The visuals that support the scenes in the film keep the viewer’s attention and follow Lucas’ heartbeat through the story.
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All these aesthetic attempts are not trying to make the film more premium. Van Damme front and center in the ad kind of sells the movie. It gives listeners certain expectations.
Van Damme’s presence front and center plays into what the film itself is trying to overcome. In the viewer’s mind, on the other hand, there is an inherent struggle about what the film is, a struggle that is not resolved by the climax.
Van Damme’s film has elements: his protection and attempts to save damaged women, his journey of self-discovery, finding himself between two dilemmas and not knowing which one to choose.
It’s all in “Jump,” which at times feels like a Van Damme movie. She has her daughter to take care of and is caught by the cops trying to sell her new gangster/money laundering boss, and Lucas works in a nightclub.
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His face was filled with emotion. They blackmail her differently to maintain their loyalty and keep their children safe.
A film like this has some gripping moments. But the action is not. A few shots here and there and a quick headbutt that provides Van Damme’s mouth-watering early nightclub punch, a bit of action.
The longest fight scene has Lucas applying for a new job as a bombardier after being fired for assaulting the son of a former government official (who gives him a well-deserved bite).
When Lucas arrives at The Visitation, he finds himself at his last job and a fight ensues. There are some toes here that you’d expect from Van Damme, but overall he spends most of his time cuddling, slapping, showing his age, and barely outshining the other job seekers.
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He plays the expected downfall in the ridiculous French film we’ve been waiting for. Van Damme does a great job in the film, showing that he can play a more vulnerable and emotional character. Whenever dialogue was needed, he provided it. But it’s not a Van Damme movie.
I recommend this because the two styles of drama acting never connect into a coherent narrative and I feel like I’m missing the point. As I tried to find, the Van Damme element lacked an emotional blockbuster conclusion that was left to the detriment of the audience and selfishly to me.
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