Cleaner (2007)

Former cop Tom Cutler (Samuel L. Harris) has retired into owning his own business, a small cleaning company specializing in crime scene and general biohazard clean-up. He’s taking care of his daughter Rose (Keke Palmer) by himself, for his wife was murdered when he was still a cop. The killer was himself murdered in prison, and Tom and his partner and close friend Eddie Lorenzo (Ed Harris) only escaped jail time of their own for organizing the murder because Tom made a deal with one Vaughn, the godfather of the city’s corrupt cops, though Eddie doesn’t appear to no that part of the deal.

It’s clear that this past is something Tom dearly wants to bury under meticulous cleanliness, avoidance of all his old cop buddies including Eddie and, the good old medicine of pretending the bad shit didn’t really happen. The time for pretending is quickly coming to an end, though, when Tom is called into cleaning up a crime scene that will turn out not to have been an official one afterwards. Worse, Tom hasn’t just cleaned up the remnants of a crime, the victim’s a guy who turned witness against Vaughn. At first, Tom hopes if he continues his well-worn technique of ignoring the situation and hoping it will go away, nothing will happen, but neither this little problem nor his past will quite so easily stay buried.

The 21st Century parts of director Renny Harlin’s career are full of surprises, unless you share the distaste for the man’s body of work most mainstream film critics seem to have quite independent of the actual quality of any given film he turns out. Probably because pretending only tasteful middle brow directors making tasteful middle brow films are worthwhile is still a rather big thing in those circles, a gospel given unto them by the sainted Roger Ebert. If your background is in exploitation and cult cinema like mine, automatically disliking Harlin’s usually interesting, sometimes ridiculous and nearly always (that nearly is obviously important) worthwhile body of work after his time as Hollywood’s second greatest action cinema director seems somewhere between insane and hypocritical.

For its first two acts, Cleaner is very typical of this phase of Harlin’s career by not being typical whatsoever. Instead of the slam bang action he would have made out of this material in the 90s, the film at hand is a stylishly (but not so stylish it becomes distracting), slick, and calm (some may say slow) movie that’s much more focussed on its actors doing proper grown-up acting, with Harlin doing his utmost to step out of their way. Given that this is mainly Jackson’s and Harris’s show – with some very effective help from Luis Guzmán, Palmer, and even Eva Mendes – and these guys could obviously be involving and interesting when shot by an idiot on a phone or Stephen Soderbergh, this is certainly the right approach to the material, also providing the film with a human grit it needs to counteract the visual slickness a little.

This works well for the film, until the third act starts, and the whole film breaks down a little. It’s not just that the revelation of what’s going on is more than a little clichéd, it is also obvious from pretty early on. The way to that “revelation” is rather too messy, also, so messy, in fact, that even Jackson and Harris have a hard time actually selling the whole affair in the end. It’s also deeply unsatisfying in how little the film seems to realize how cynical its ending, where the only crime that’s actually punished is the one committed out of love and where all corrupt cops can merrily ride into the sunset, actually is, and how much it actually undercuts the whole “family first” shtick it is apparently trying to sell.


But then, the first two acts really are rather good.

In short: Out of Time (2003)

This one’s a fun enough twisty little thriller directed by Carl Franklin with elements that look more noirish than they’ll turn out to be, its world view a bit too bound for a happy ending. The film is mostly concerned with showing how its hero - Denzel Washington as the chief of police of a tiny town in Florida – tries to juggle half a dozen problems (among them his cop soon to be ex-wife Eva Mendes and various streaks of very bad luck) to keep himself out of jail (or worse), after he has stolen drug money to pay for his girlfriend’s (who is also married to a wife-beating Dean Cain, no less) cancer treatment and finds himself betrayed. All that despite him not being exactly the brightest guy in the world.

Because the Chief is played by Denzel Washington, and his crimes are based on compassion and love (well, and lust, too, but you know) and not hurting anyone, our protagonist is not meant to be one of those thriller characters whose suffering the viewers are supposed to cheer on but rather meant for identification with his plight, an approach that makes sense but that rather divorces this from true neo noir status by being just too damn nice. As a thriller, the film suffers a bit from a script (by David Collard) that plays so fair with the audience it tends to telegraph all of its twists so clearly one might think it takes its audience to be even bigger idiots than its protagonist. There’s also a suspense scene that suggests that either Collard or his hero doesn’t know about the magic of find and replace, but I’m gonna let that slide, too.

Fortunately, the film has other things to recommend it. Once I got over the lack of neo noir goodness, I enjoyed Out of Time’s good-natured tone where not all friendship and love is based on betrayal and lies as a nice change from the more bitter and cynical stuff I usually watch when I indulge in thrillers.


Another plus is of course Denzel Washington. Even in a bad or mediocre movie, Washington is always at the very least fun to watch. Here, he works very well as the normal guy in far over his head, even though I never really bought him as quite as dumb as his character is supposed to be. There’s also a game supporting cast, and Carl Franklin’s direction that tends a bit towards the picture postcard slick but also does create a sense of (fake) place and goes through your usual suspense sequences with conviction, timing and friendly winks and nods towards the audience that do go well with the general tone of Out of Time.