JCVD

There's some word combinations that you simply can't envisage together. "Jean-Claude Van Damme can act" is one of them. Yet, remarkable as it may seem, the Muscles from Brussels turns in a truly career turning performance in JCVD.

Directed and co-written by Mabrouk El Mechri, JCVD manages to capably straddle art house, action and comedy genres as it captivates the viewer by laying bare the soul of the star of such DVD fare as Bloodsport, Streetfighter, and Universal Soldier, to name only a few.

Largely based on his real life troubles, JCVD unfolds as Van Damme retreats to his native Belgium in the wake of a losing child custody battle in a Los Angeles court.

Mounting financial troubles have left our hero with over-maxed plastic and debit cards that no longer yield ATM withdrawals. Forced to tap into his savings reserves, he makes a pit stop at a post office/bank to arrange a money wire transfer to pay his lawyer, only to discover that the bank is in the process of being robbed and he's stuck in the midst of the drama.

To make matters worse, the manner in which things have unfolded has caused authorities and media alike to believe that Van Damme is the mastermind, orchestrating the heist and hostage taking to pay his legal bills.

Segmented into chapters and shown out of sequence, similar to Pulp Fiction, El Mechri manages to deftly juggle laughs and tension to deliver a film that uniquely straddles several genres, including breaking the "fourth wall" with an eight-minute long monologue in the film's third act that sees the muscle-bound Belgian recap, with painful tear-inducing pain, his life of cheesy movies, women and drugs.

Think of Dog Day Afternoon in which Pacino gets to speak to the audience and lay his soul bare and you've got an idea of what's in store with JCVD, which, if there's any justice, will do for Van Damme's career what Tarantino did for Travolta's. Especially now that we know JCVD can act.

I went into J.C.V.D with all the prepubescent memories of the action heroes of yesteryear; nostalgic roundhouse kicks, horrible dialogue, overdone explosions, one-liners and all. A time where the movie industry churned out the same movie a hundred different ways with the likes of Schwarzenegger, Stalone, and Van Damme in the spotlight. These action movies seem set aside from Hollywood history, not as bad films per say but as their own separate entity where critics and nay-sayers alike had no power to quell the insatiable appetite of young movie goers. A time where this trinity of subpar actors ruled the box offices with their muscles and gun toting charisma. Not that I was expecting J.C.V.D to be one of these films, but it is almost impossible not to be reminded of the better days of mindless entertainment when the film's title is the initials of the King of High Kicking, Jean Claude Van Damme. I was expecting something I have never seen before, something of a reinvention of an American, French, or more importantly, world icon. Which is exactly what I got.

J.C.V.D. is not a Jean Claude Van Damme movie whatsoever, no more than its namesake. There are no drawn out fight scenes, no car chases, and certainly no bad one-liners. Instead, the film is a hybrid, a meta-film, going beyond documentary, mocumentary, or full blown narrative. If I were to categorize it as anything, it would be a documentary of a mocumentary since it isn't afraid to break the fourth wall and does so on many occasions. The narrative is broken up, flipping back and forth if not only for the element of short lived mystery. It is not a character study since Van Damme is almost too well known for that, rather it is reenactment of his life dramatized for Hollywood. It doesn't matter if the story is true or not, the important thing is that Van Damme makes it real. Obviously drawing from his real life experiences, he pours his heart into his cinematic counterpart and proves to the world that he can flex his acting muscles just as well as he can flex his biceps, if not better now in his old age. Van Damme humanizes himself in a way that we have never seen. In a power and telling scene where Van Damme literally is lifted above the fourth wall, he explains to the camera his inglorious life and career, full or mistakes, drugs, and heartbreak. It brings a heart to those action films of yesteryear, of a past where things were simpler and a present where retrospection, as well as introspection, only leads to heartache.

This film speaks about the power of the celebrity and the quick to judge public. It brings to light the blood thirsty court system once it has a celebrity to make it famous. And it shows that not all of these superstars are the personalities we see on film. That they are normal people thrust into extraordinary situations with nothing to do but buckle under the pressure of the public. But beyond the serious nature of J.C.V.D. there are plenty of easter eggs to be found for those pure action fan boys. References to all of his previous work and signature high kicks are spread throughout the film that give it it's humor while the performances and solid writing attribute to many laughs as well.

The opening sequence of J.C.V.D. perfectly captures the message it is broadcasting to our time. It features an action sequence where Van Damme is out of breath and sloppily taking out soldiers while the stunt men and actors alike exhibit their heartless effort for a pay check in the film industry while the director throws darts at a picture of Hollywood. It lacks all the magic of his work while accentuating the cheesiness to a point where the fake film is a mirror image of the action industry today. And as Van Damme tries to catch his breath and lobby for a better film, he can only walk away in disgust of what his beloved career has become. J.C.V.D. is a film that knows what it is and what it is trying to say. Yet it somehow goes beyond that to become something more. It breaks down and then raises up one of the most famous action stars of all time only to show him in one of his best roles. Himself. It is not a tribute to those days gone by where I would rent six Van Damme movies and watch the rest of the afternoon away, it is more. It is a fun, funny, entertaining, and a damn good film. One thing is for sure, I will never look at Van Damme the same way again, and that is a great thing.

OK, I saw the movie today and here's my review: This movie is by far the best movie I've seen with Van Damme. Not his best action movie, because it's not what you would expect of a Van Damme movie, but the best movie he ever made. For me this is the highlight of his career and he'll probably never make a better movie.

The movie had indeed a dog day afternoon, even a Tarantino feel to it. The story is told in pieces and by the end of the movie all the pieces come together.

The beginning with the action scene is nicely done, and the one-take scene puts you right in the action.

Then the story continues with Van Damme arriving in Schaarbeek and going to the postoffice. From that moment one the story unravels.

Van Damme plays a portrait of himself and does this extremely well. He does have a sense for drama, and he really acts well. I do believe this has something to do with him being more comfortable in his native language.

The other main characters are perhaps not very well developed, no real background story, which for me is a bit off a flaw. But the movie off course centers around Van Damme.

The famous monologue is definitely a must see and is a summing of what he has encountered in his life, very moving.

This movie, for me, shows us that he definitely CAN act given the right director and script. I hope this opens eyes, and also his.

The direction for me was excellent and I think the director will go far. He clearly has talent.

I think the movie should've given a chance on the festival circuit, it definitely would've found an audience. (maybe they should do this in te states).

So conclusion? The best I've seen from Van Damme... A must see.

8/10.

JCVD is an excellent surprise. It's a kind of dramatic comedy where Jean-Claude Van Damme plays with great conviction his own role in life. This starting postulate, to tell a passage of the life of a movie-star on the decline by the person himself, makes the movie sail between fiction and autobiography. This original and ambiguous concept propels the script in a tasty, funny and tragic reality/fiction realm. One can think sometimes of Pulp Fiction.

The famous movie-star, Jean-Claude, is surprisingly right and touching. Van Damme plays here the role of his life, in all the senses of the words. There will be a before and an after JCVD. The central monologue of the film, a rare feat of ingenuity, a long one-shot sequence of the star made up of his doubts and his anguishes, is bound to become a classic.

The film is however not perfect. The flashbacks are well carried out but some scenes seen twice can be somewhat long and would have been improved by being shortened a bit the second time around. This saved time would have made it possible to develop the supporting characters, like the police chief, a bit more. Speaking of supporting characters, those are somewhat caricatures and with one dimension.

JCVD reveals itself as an excellent surprise. Far from being a hollow marketing ploy, this film, probably the best of Van Damme, is a true success that deserves to be seen.

The question now is what will Van Damme do next?

"He'd still be shooting pigeons in Hong Kong," says one of the players In JCVD about director John Woo's debt to action star Jean-Claude Van Damme for their 1993 collaboration, Hard Target. Making that film may have been JCVD's greatest contribution to modern cinema although the current film with his initials in the title is more interesting than any previous kick-butt martial arts flick of his I can remember.

The story's framing device is Van Damme's fictional character of the same name unwittingly becoming a hostage in a bank robbery where his inability to extricate himself and the other hostages is a commentary on the impotence in real life of the mythical hero on the screen. The gritty, de-saturated look inside and outside the bank reminds me of the urban realism of Sidney Lumet's bank-heist Dog Day Afternoon. There's even a stringy-haired thug, but Van Damme is no Dustin Hoffman.

In this satire of his mercurial career as an action star, Van Damme ironically manages a mini-Mickey Rourke comeback by expressing feelings for his daughter and for the lost glamorous life of the Muscles from Brussels. His taciturn, expressionless persona is exactly what the satire needs to move it from a comedy about celebrity to a serious attempt to throw his identity into the existential arena. Indeed one long take in which he tearfully philosophizes about his troubled life is either ludicrous or a rather nice reflection on the vagaries of fame, albeit low rent. The other long take during the titles shows the aging hero fighting his way through a gauntlet of bad guys in a current movie. It's not bad given how bad Stallone could be in the same situation.

Van Damme has had real-life difficulties getting custody of his daughter and righting his tax problems, so JCVD is an apt imagining of his troubles. At some moments he does quite well taking his acting where it has never gone before. That he recently lost a role to Stephen Seagal, who agreed to cut his pony tail for the part, is less an indictment of Jean-Claude than it is a commentary on the vagaries of showbiz heroism.

"Sic transit gloria mundi."