All of the Oscar hubbub surrounding Birdman got me thinking about JCVD, a movie built on a somewhat similar concept. You might superficially call this “a comeback movie”, if you think of Michael Keaton’s Birdman role in the same way most think of Mickey Rourke’s revitalization in The Wrestler. This might be the comeback of Jean-Claude Van Damme, action hero of the ’90s, star of movies with such vague titles that his name is printed in larger font on the posters, one-time king of both the roundhouse kick and the action flick box office.
But JCVD is set up like Birdman in another way, and after a certain point it’s not really a comeback film at all. The Muscles from Brussels stars as himself, or at the very least a tired and nearly washed-up version of himself, broke and embroiled in a custody battle for his young daughter. He’s still acting in the same films he’s always been acting in, but nowadays the passion seems sucked out of the entire process. The first long shot of JCVD follows Van Damme as he does an action sequence from his latest film, directed by a kid who doesn’t give a shit about Van Damme, and that opening shot tells two stories at once. It tells the story of the film-in-the-film, in which Van Damme’s hero saves a hostage from an army of faceless henchmen. But it also tells the actor’s story, Van Damme visibly going through the motions to get the film done instead of actually living through the thrill of the action. Every punch and jab and dive is perfect, exactly where it should be, and because of that it’s the most unexciting action sequence ever filmed.
Motion State Review 