The appeal of action films isn’t often based on a character’s magnetic personality. It’s almost widely accepted that they aren’t profound character studies that require tons of thinking. Sometimes, it’s all about having a fun time.
The Bouncer isn’t the exception. It’s an indie feature with a thin storyline that doesn’t need anything beyond a linear character’s journey. Sure, its narrative structure is clunky, but a few (explosive) performances will make you look over the most obvious details. Again, I had fun for more than an hour, and its villain managed to capture my attention.
The film follows a bouncer who has a fair share of secrets, all embedded in a past that isn’t explored, not that we actually need to. A few glimpses at his trauma, and you’ll get the idea. Frank Sharkp is obviously a fugitive trying to hide away from whatever’s tormenting him. This takes him to a sketchy underworld where his responsibilities are limited: he just rejects people who try to violently enter a club.
The problem is that Sharp is residing in a world where crime is the only rule. A ruthless crime boss is seen being excessively violent towards a girl, and Sharp “unconsciously” jumps in to save her. Against every piece of advice, Sharp decides to help the girl (who’s a victim of a human trafficking ring) and stands up to Kane, the crime lord with anything but scorn for anyone who disagrees with him.
The initial setting feels campy, but fortunately, The Bouncer turns into something else entirely when it enters action territory. John Ozuna’s character, Frank Sharp, calls for his martial arts talent to be fully displayed, and though the sequences could have used some tweaking, there’s no doubt this is the film’s purpose.
What The Bouncer offers as a twist has to do with Sharp’s unforgiving nature. He isn’t a violent man, but his past is dark. Heavy enough to give him a backdrop that “allows” him to get serious when it’s necessary. Sure, he also travels to the other side of his character’s range, and the film becomes a bit melodramatic.
Even though his character is designed with a single purpose, the film is entirely owned by Costas Mandylor. His character is Kane, a ruthless crime boss with an insane desire to be violent against everyone. Mandylor produces enough fear to make his scenes more memorable than what the film calls for. I don’t doubt there’s a good amount of improvisation whenever he shows up, which makes Kane a bit more disturbing than I expected.
The film often enters a very uncomfortable territory against women, and it may be a little triggering for some viewers. It’s fiction, of course, and the film makes a great point about the realistic aspect of the situation it portrays. But at some point, it becomes a bit too much to endure, at least for me. Even when Sharp is forced to fight back, he overpowers a female villain with ease, proving this awkward point about the film’s violence.
Film critic. Lover of all things horror. Member of the OFCS. RT Approved Critic.
