(Written by Intern, Miranda Zampogna)
Cleaner catapults a fun toe-curling experience, albeit one with a washed third act. Martin Campbell’s latest action thriller centers on Joanna “Joey” Locke (Daisy Ridley), a down-and-out window cleaner with a troubled past as an ex-soldier. She and her autistic brother, Michael, find themselves thrust into a high-stakes terrorist plot orchestrated by a radical environmentalist group. Indeed, Cambell follows the blueprint of John McTeirnan’s Die Hard to a tee, with an everyman taking on terrorists in a commercial tower, yet slight differences ultimately make for an interesting take on the classic. Amidst premature pacing and imitative turning points, Cleaner boasts a touching brother-sister relationship, a charged lead actress, and a timely ecopolitical message presented by a complex villain.
A gritty prologue opens with sweeping shots through a cramped London apartment’s walls, offering a glimpse into Joey’s turbulent childhood and the echoes of parental abuse toward her brother. What she witnesses lays the foundation for her fierce protectiveness over Michael. Twenty years later, we find Joey navigating a hostile work environment, while struggling to provide for her sibling when he is kicked out of a placement home for hacking their system. The predictable set-up, with Joey oversleeping and rushing to work, is quickly overshadowed by the introduction of their rare, quirky, close bond. Their dynamic is fraught at first, but develops into a mutual understanding by the end, a highlight that adds genuine warmth to an otherwise standard narrative. In truth, Michael’s substantial role provides much needed representation, where newcomer Matthew Tuck portrays autism with sensitivity and wit.
Daisy Ridley, an affable performer, is expertly cast to gain the audience’s admiration. A particular moment cements this when Joey intervenes on behalf of a pregnant employee being harassed by the sleazy CEOs of Agnian Energy, Geoffrey and Gerald Milton. Despite knowing they also happen to own the building where she works, she unwaveringly sticks up for the little guy. Never preachy, Ridley and Campbell strike the right balance in terms of commentary, while Joey’s resilience endears her to audiences. The brothers Milton, portrayed almost cartoonishly as gluttonous execs, and their oil-spilling crimes, provide the impetus for the eco-terrorist group Earth Revolution’s hostage takeover during a glitzy company gala. Wasting no time in establishing the stakes, a tight first act sees Joey stuck on a suspended window washing platform, while her brother Michael is trapped inside the high-rise with these deadly insurgents.
Throughout, snappy intercutting between Joey’s mission to save Michael and the whistleblowing terrorists’ b-storyline retains a high-octane energy propelling the narrative forward. Particularly memorable are the night time reflective shots of the glossy skyscraper, as well as the Hitchcockian camera. For example, there are many vertigo-inducing high-angle shots and voyeuristic views reminiscent of Rear Window that create palpable suspense and a feeling of helplessness, effectively placing the audience in Joey’s perspective.
The arrival of the anarchists set the stage for a classic Die Hard scenario, but with a distinct environmental twist. While their methods of retribution are extreme, they resonate with poignant themes of societal responsibility and the current class war against pillaging billionaires. Their concerns about Agnian’s pollution and corporate greed are understandable, adding nuance and subverting genre expectations of usual black-and-white action fare. Infighting, power struggles, and a moral divergence, while somewhat abrupt, add an extra level of intrigue to their villainy. There is also an added element of betrayal that deepens emotional conflict, raising the personal stakes for Joey. A clever MacGuffin that ties the lives of the gala attendees to a peculiarly rigged bomb, surprises and raises insurmountable odds.
Ridley’s rousing depiction shines through, especially in a monologue where she gives a believable and personally resonant backstory of being an ex-soldier that would have otherwise seemed cliché. Not once does this star phone it in. Her physical presence and the stunt performance standout in tactical combat and suspended wire-rigging instances, seamlessly showcasing the character’s multifaceted set of skills. Taz Skylar’s frighteningly relevant portrayal as a loose-cannon radicalist is provocative, and Clive Owens, while underutilized, adds meaningful contrast and depth as one of the main villains.
As visceral stakes and compelling objectives carry the story forward, the number of action sequences are few and far between as the second act progresses, while also being hastily executed. An explosive fight in a steam-filled utility wing is the only unique standout sparring match. Notably, the final showdown feels rushed and lacks the necessary impact. Moreover, the solution to the madness seems too simple and could have benefited from further explanation, testing a certain plot device’s credibility. Although there is closure in terms of character development, a derivative resolution affects the emotional payoff, and there is no true illusion of danger to release the audience’s adrenaline.
Despite a weaker third act and predictable premise, Cleaner ultimately provides an engaging and thought-provoking cinematic experience. The timely exploration of a hair-trigger society due to conservational conflict, portrayed by atypical characters and a refreshing cast, is ultimately what sets this apart as a captivating watch. Overall, this worthwhile action thriller is anchored by Daisy Ridley’s strong performance, offering a thrilling ride with a conscience.
Not a total pane in the glass, Cleaner might shatter your expectations on Friday, February 21st.
