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So far, it has been a combination of captivating and annoying trying to track down the later phase movies of Jean-Claude Van Damme. The movies are usually a bit hit or miss, however, at the core is Van Damme’s stunning and magnetic performances. A world-weary and all-encompassing sadness of being left behind, exhuming the instant. He is sculpting and transforming into a hallowed figure of the post-action cinema script and post-primed career Victor Frankenstein. His face is a cinematic landscape now, every gesture forlorn, every line rends the celluloid.
It is this intention that the Bouncer or Lukas finally is capable of carrying. Reconstrued as a default step sequelae from an action or revenge film, it fixates on what happens once you carry out your aims. A combat movie hero Trying to find work, hunting for job leftovers. To foremost, there is a ne guise of a father, daughter relationship that moderately supports Lukas (Van Damme’s) disconnected, lurking, and melancholic essence within the modern cinematic world. A hint of what was lacking such as deshiffering what was always there was in scene is JCVD (Mabrouk El Mechri, 2008) A sensitive counthrty Andersson and Jean Claude Van Dam, who’s naive vulnerbility was effortlessly purnished or misplaced targetting his persona. With this in mind, it renders an understanding of ‘metal-action’ or contemplating a career with sore eyes and reflection. The John Hyams Universal Soldier sequels tell us so much more of the dark, more rotten sci-fi brethren with serious uncomfortable sophisticated themes. Like an on slought of masculine rituals and violence cloning, and contestation of action cinema with it. There are also men but these were the softer remnants, Tail end of brutality, opening wounds for meat and slicing it with bladed weaponry. All that was left in the besides ruins of what men did to each other. Lukas doesn’t just obliterate the world. In a subtle yet thought out technique, he fumes, removes and murky imagery, mutes everything have similar themes, but sustains some humanity. With some little left to clutch, these themes never remain evoked.
Echoing through the rhythmic beats and visuals at Lukas’s work is the industrial machines techno music. Van Damme moves through the entire space like a shadow. He is breathless yet determined to stealth inside, it is quite clear from the look of his statement that gives the impression that he is exhausted from all the movement.
Declining him by explaining the precise and clean lines of Van Damme does not do much justice. The elegance and grace brought all the sculptural qualities to the table. Often it would be a source of humor where he turned to the older Van Damme as he took on this graceful object to form. Immersing the image with the deep lines and wrinkles of his face gave the impression of a sharp stillness hinting to him carving out his form.
Though Lukas can be perceived as a dull and small movie. The controlled and nuanced movements of the character make it up for the lack of excitement resulting in Van Damme coming home.
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