If a story about a reformed killer returning to his murderous ways to hunt down and slaughter Russian mobsters sounds familiar, that’s because it’s the synopsis for “John Wick.” It’s also, however,…
premiere , although genre fans hungry for hackneyed action with a healthy dose of “Taxi Driver”-ish brooding may welcome its by-the-numbers mayhem.
In a dark, wintery New York City, Clean performs his garbageman duties in the early morning, musing in interior monologues about the “sea of filth. An endless onslaught of ugliness … Where does it all go? I’ve got blood on my hands. I’m stained. I’m dirty. No matter how hard I try, I can’t wash away the past.” That effectively spells out the protagonist’s Travis Bickle-grade state of mind, as well as his secret, lethal past.
“Clean” eventually throws some Christian religious elements and a giant Clean back tattoo into its mix — not to mention a climactic explosion of avenging-angel carnage that’s prefaced by Clean admitting he’s “back” — thereby completing its transformation into an unabashed riff on Keanu Reeves’ 2014 hit. Clean’s adversaries are first a group of Black men who want to corrupt Dianda, which motivates Clean to take his trusty wrench to their noggins.
Set to Brody’s hip-hop-infused score, “Clean” trudges slowly and gloomily toward each of its plot points, its trajectory so predictable that it’s hard to care about any of its particulars. Those also include Clean’s habit of selflessly renovating his community’s ramshackle homes, and his amiable friendship with a pawn shop owner who buys his refurbished goods for cash.
Reteaming with Solet following 2017’s “Bullet Head,” Brody grimaces with requisite anguish and rage, and like Solet’s clean and moody direction, he handles his violent responsibilities with aplomb. Yet there’s not much to be done with a leaden screenplay that has Clean say things like, “I’m just trying to save myself.” Fleshler is similarly stuck going through rote motions as a hulking menace with scary smiles and punishing fists.
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