In the latest action thriller, Cleaner, Daisy Ridley‘s performance is not enough to save this film from mediocrity. Released on February 21, this movie, directed by Martin Campbell, attempts to blend weak action with an overly simplistic storyline. Ridley, best known for her role in the Star Wars franchise, plays a former soldier turned window cleaner who finds herself in a troublesome situation when eco-terrorists take control of her workplace.
From the onset, it’s clear that Cleaner is a C-tier imitation of the Die Hard franchise. It tries to push its political agenda regarding modern-day terrorism while failing to deliver engaging action. Ridley’s character bears the weight of her responsibilities, including caring for her autistic brother, which briefly touches on the societal challenges faced by individuals with disabilities. However, this aspect feels more like a half-hearted attempt at depth than a meaningful exploration.
As the plot unfolds, viewers are forced to endure a slow-paced first 45 minutes with little action. Instead of allowing Ridley to dazzle as a strong action lead, she remains stuck in one place, watching as chaos erupts around her. It seems absurd to think of an action heroine sitting idly by, reminiscent of John McClane spending the first hour of the movie trapped in an elevator. Such a choice not only diminishes the excitement but also wastes Ridley’s potential within the film.
Technically, Cleaner leaves much to be desired. Despite having directed acclaimed films like Casino Royale, Campbell seems to have lost his touch with this project. The cinematography is disappointingly basic, lacking the creative camera work that could have elevated the film’s engagement factor. In a genre that thrives on heart-pounding visuals and dynamic action sequences, the sameness found throughout the film is a missed opportunity.
Moreover, the representation of violence in modern action movies plagues Cleaner. Instead of gripping chase scenes and intense fight choreography, audiences witness a barrage of executions that strip the violence of any meaningful impact. After the umpteenth person is shot, the shock factor diminishes entirely, leaving viewers to ponder the film’s serious missteps in crafting a compelling narrative.
Critics note that the script itself is alarmingly basic, featuring dialogue that falls flat and a plot that fails to innovate. It’s especially bewildering to see a team of three writers produce a film that feels so cookie-cutter. While Cleaner manages to avoid being wholly offensive, it tumbles into the pit of sheer stupidity at points, which could have been easily avoided with stronger writing.
However, there is a sliver of praise for the film. At least it respects its audience enough to keep the runtime around 90 minutes, ensuring that even the most lackluster of films does not become an all-day affair. Ridley’s performance shines through the clutter, showcasing her capability to lead an action film, though her talent is largely wasted in this underwhelming project.
Ultimately, Cleaner presents itself as an uninspired addition to the action genre, full of cheap thrills and a hurried pace that prioritizes mindless entertainment over substantial content. It desperately aims to comment on society but often gets lost in its lectures instead of delivering the engaging sequences audiences crave. For fans of Daisy Ridley, this film may serve as yet another disappointment in her career, highlighting the need for more discerning choices ahead.
