The release of Cleaner, a British action thriller directed by Martin Campbell, is a compelling reminder of why we should be wary of cinema that showcases an all-star cast splashed across a muddled plot. Marketed as a high-octane, edge-of-your-seat adventure, this film often feels more like a laboriously constructed thesis on how to squander a riveting premise. With Daisy Ridley in the lead role as Joanna "Joey" Locke, a former soldier turned window cleaner—who takes her autistic brother to her workplace amidst a hostage situation—you can almost hear the collective groan of the audience when they realize their cinematic experience is about to take a nosedive.
The Paradox of a Once-Great Director
Martin Campbell, the so-called luminary who once breathed invigorating life into the James Bond franchise with hits like GoldenEye and Casino Royale. It's almost poetic how the man who delivered Bond back to cinematic sophistication could also birth a masterclass in cinematic blunders with Cleaner. One would think that a director with such an illustrious background would have a sixth sense for engaging storytelling and competent character development. Instead, one has to wonder if he lost his directing cape somewhere between reviving a suave British spy and launching an atrocious action thriller that should have stayed buried in pre-production dust. One could almost hear the ghost of his former greatness lamenting over the disarray of a production that sorely tests our faith not just in Campbell, but in the very nature of filmmaking itself. Truly, it’s a fascinating exploration of how far one can tumble from grace, all while wielding the same camera and crew that once captured suspense and charm with such finesse.
Character and Plot Overview: A Dismal Assembly of Clichés
The character development in Cleaner is as peachy as a rotten apple. Ridley's portrayal of Joey is an achievement in sheer miscasting; her misguided military background offers little credence to the absurd choices she makes throughout the film. Among supporting cast members, Clive Owen makes a brief appearance as Marcus Blake, but honestly, it’s almost tragic watching a seasoned actor wade through such a convoluted script. Character motivations flounder like fish out of water, especially when the narrative propels Joey into an impossible situation—bringing her brother to work earning oohs and aahs only from viewers pondering her life choices.
As far as plot goes, Cleaner follows a path littered with the bones of far superior films, particularly the indelible Die Hard. We are left with a staggering array of logical inconsistencies—namely, how a supposed security expert would allow her brother to slip away into a high-stakes hostage crisis. The film's creators seem to delight in concocting scenarios where Joey often exhibits less foresight than a goldfish. The stakes rise ominously as she finds herself outside the building for most of the runtime, creating a paradoxical sense of suspense that might have worked in a comedy, but you can't substitute silliness for genuine drama.
Thematic Elements: A Lackluster Exploration of Controversial Topics
Cleaner ambitiously attempts to tackle themes such as environmentalism and the portrayal of autism but instead lands squarely in controversy's crosshairs. The film's representation of activists as extremists is as subtle as a brick through a window, risking alienation of audiences who might otherwise be inclined to sympathize with their cause. Meanwhile, the character of Michael, portrayed with a staggering lack of authenticity, offers a cringe-inducing stereotype of autism, which serves more to further stigmatize than to constructively portray.
Perhaps we ought to discuss the underlying neoliberal propaganda throughout the film, where environmental activists come off as psychotic terrorists while triggering nearly industrial-strength eye-rolls. Dialogue exudes a condescending tone toward the very ideals of social justice and environmental responsibility, which the film attempts to manipulate in an effort to draw viewers into a moral quagmire that lacks resolution.
Descriptive Language and Production Insights: A Dystopian Artistry
From a visual perspective, Cleaner aims for gritty realism but succeeds only in muddying the waters. The cinematography is perhaps better suited for a documentary on urban decay than an action thriller—unless the intention was to create a metaphor for the film itself. The stylistic choices here ultimately do the opposite of elevating the narrative; they trap it in a murky fog that obscures even the simplest of action sequences. If the goal was to adopt visual styles that idealize grime, they have succeeded brilliantly.
And let’s not overlook the dialogue, which arguably contains a series of awkward exchanges that could rival an underdeveloped screenplay for a middle-school play. One can imagine cast members forming a support group for those traumatized by attempting to deliver such painfully contrived lines.
Critical Analysis: The Emblem of Mediocrity
To label Cleaner as an "absolute shit movie" might be an understatement, although the film does a stunning job of making us question not just the choices of its characters, but also the choices made by its creators. There is a duality to its narrative that is both befuddling and utterly disengaging, as it wrestles with the intention of making a poignant social commentary while missing the mark by several hundred miles.
In summation, Cleaner is an exercise in wasted potential. The film oversells action yet delivers lethargic sequences while mismanaging crucial aspects of character development and thematic coherence. Ridley's performance may draw the ire of even the most forgiving fans, apparently solidifying her status as a vehicle for critique rather than a compelling lead. Cleaner isn’t just a mediocre film; it’s an unfortunate lesson in how not to build a narrative, encapsulated by the idiom, "sometimes you can judge a book by its cover." In this case, the cover shouldn't even have made it onto the shelf.
