No, The Bouncer is not an adaptation of the Square Enix (Squaresoft back then) game from 2000. Nor should the action flick, directed by Massimiliano Cerchi and written by Adrian Milnes, be confused with the Jean-Claude Van Damme title of the same name released in 2018. So, somewhat generic title aside, how is the film?
Frank (John Ozuna) is an American who is hiding from his dark past in Romania. He secures a job as a bouncer at a local hotspot that just so happens to be favored by the Russian mob. The bigwig in charge is Kane (Costas Mandylor), who has a nasty temper and a nastier habit of taking it out on the women in his orbit. One night, Frank sees too much violence and saves Kane’s latest conquest, Silvia (Rosmary Yaneva). As the two escape into the night, he discovers Kane is trafficking her and the other women. Unfortunately, the Russian mob boss has his fingers in everyone, causing a violent city-wide hunt for Frank and Silvia. Can they ever find safety, or is killing the entire Russian mafia in Romania the only way out?
It would appear that all of the dialogue in The Bouncer was ADR’d in post-production. The voices never seem to be stemming from the characters in X locations, no matter where they are. The lines seem to come out from behind the camera, and it is constantly distracting.

“…secures a job as a bouncer at a local hotspot that just so happens to be favored by the Russian mob.”
It’s too bad, as the main actors are all quite good. Ozuna is very compelling as the haunted but skilled lead. He holds his own in the numerous action sequences handily. Yaneva is good as the helpless but well-meaning damsel in distress. Mandylor always gives 110%, even in fare like Dr. Chopper. Here is no exception, as he comes across as menacing yet badass. Simon Phillips, as Frank’s only friend Carl, is also quite good.
But The Bouncer is an action flick and, therefore, lives and dies by how entertaining its setpieces are. Between a shootout in an apartment, a car chase, a helicopter fight, and more, the movie is chockful of carnage. The editing is never too jerky, allowing the fight choreography to be followed most of the time. As such, this is an exciting, high-octane affair that never lets up.
The Bouncer is a solid, mindless actioner. The fights come fast and often and are exciting. The cast does the best they can, and all sell the numerous action sequences believably. It’s too bad, then, that the dialogue is so poorly mixed in with everything else that it distracts.