Lovesusti The Worst Film Ever

Protraph Lack of good storyline.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Anoushka Slater While it doesn't offer any answers, it both thrills and makes you think.

jzappa It opens with pure abstraction, sights, sounds, we think we hear ambient music but maybe it isn't. We are immediately disoriented by the first impression the film has on us. After all, this is what Peter Winter is accustomed to. This is the way he sees the world, just like many movies use technique to appear the way their main characters see the world. Peter is obviously disturbed. But what makes him more disturbed is that he is setting out into a world of which he has long not been part. Clean, Shaven consists of an overtly and insistently mediated reality, Peter at the center of it. We are meant to presume we understand the underlying context of what we see, but Peter's mental illness too often transforms the world into a disorienting barrage of sounds and images.Peter Greene, an always memorable character actor whose filmography is too short, delivers a formidable rare bird of a performance. He is mournfully abnormal. He is possibly dangerous, indeed we're fairly sure. He is clearly enfeebled and debilitated by powerful paranoia fueling such self-destructive and extreme delusions. Which is he? Is he a victim or a psychopath? Both? Greene's stunned, piercing eyes bespeak endless lifetimes of agony. He could go either way at any moment, he lets us know in close to every scene in a mere handful of words in all. He is gravely, distressingly, convincing as someone whose true nature we cannot entirely fathom, much less he himself. Greene provides a perfect equilibrium.The result of Clean, Shaven is an atmospherically immersive experience, a story constructed entirely out of mood. What's even more disorienting is that to name the mood is very difficult. It is shot on grainy, desolate film stock in dilapidated towns, lonely roads, cramped bathrooms, germy outmoded kitchens, and low-rent motel rooms. A reliance on dialogue is something that writer-director Lodge Kerrigan actively avoids, as well as most traces of backstory or explanation. In fact, I'm actively avoiding using the term "schizophrenia" in any of my description because, although most descriptions of this movie do, the movie doesn't seem to directly mention it. It's just felt so deeply that we, again, are meant to presume that it is.Presumption, ironically, seems to be Peter's antagonist, outside of his intensely off-putting behavior. Based on something that we presume he does off-camera early in the film, a detective begins to track him and grows desperate to catch him. But he has no evidence. There is nothing for him, or for us, to go on to be certain of what we gather. But, like us, he finds himself, unexplainably, determined to grasp him. One could say that this detective---who barely if ever speaks, definitely even less than Peter who has maybe ten lines in all---is relatively closer to us, more comfortable, part of the outside world, but then one would presume wrong. This guy has a couple of screws loose; he just keeps a tight lid on it. But that tight lid turns all that suppression, whatever it's of, into aggression, which shoots first and asks questions later in sex and in violence. Actually we can only presume about him asking questions. But at that, that mood, which we might deem insanity itself, is everywhere apparent. The film ends on a deeply haunting note where that insanity seems to transmit, or infect. There is no outside world. In the world of Clean, Shaven, we all have screws loose.The 1990s was a decade notable for the alleged renewal of American independent cinema. It was when an emerging generation of new filmmakers decided to go to the edge and try to break new ground. Many did in their own ways, and the ones who have become the most tremendously influential and hold the most sway over audiences are the ones whose revisionist endeavors plug directly into the pop culture sensibility of their content. Lodge Kerrigan was quite the opposite. But the content of Clean, Shaven, his 1993 debut film, liberates him to explore certain formal possibilities with the medium that are rarely observed in more mainstream cinema. It's unremittingly comprised of a radical visual, and equally aural, style that challenges both Hollywood's creative and narratological concerns. Enraptured by a protagonist trapped in his own oppressive reality, Kerrigan crafts a film viewing experience that is more interested in provocation than it is in pleasure.I don't seem to have left much of any footprints of a hint of basis to desire seeing this movie. But there is positively a great amount of appeal in any film experience that taps into and draws out your most abstract moods and emotions. We're supposed to feel them all, or know them all, have a relationship with all of our capacity for feelings. And what's more, this is a piece that topples the opinion that movies are not capable of depicting internal life.

tbyrne4 I have spent a reasonable amount of time around schizophrenics and I can safely say that this is the clearest and most empathetic portrait of that illness I have ever seen. Harmony Korine's "Julien-Donkey Boy" is a brilliant movie and is accurate but it doesn't record the horror and sadness and isolation as well as "Clean Shaven". Korine's film is also much more light-hearted. David Cronenberg's excellent "Spider" is (as all Cronenberg's films are) more about David Cronenberg and his recurring themes (re-birth, degeneration, transformation) than it is about schizophrenia.BASIC Plot line: Peter Winter is a young schizophrenic recently either released or escpaed from a mental institution. He keeps a shotgun in the trunk of his car and the film hints that he may be behind a series of child murders, although this is left vague. Peter desperately wants to see his daughter. The girl's mother died and Peter's mother put the girl up for adoption, fearing she would turn out to be schizophrenic as well. The bulk of the film is Peter's trek to find his daughter and the police's search for the child killer.This is an absolutely captivating and brilliant film. It makes superb and beautiful use of sound. The viewer is thrust into the mind of a schizophrenic. We are constantly bombarded with images and sounds that Peter is hearing. A jumbled mass of static squelching, radio dialing, sonic squeals, abrasive voices, airplane wooshes, white noise, etc. Trees fly by. Black and white photos drift past. The film is a mad image collage, constantly shifting and moving. It's a torment. We understand that to live the life of a schizophrenic is to live in hell. Truly.In the center of the chaos is Peter Greene's beautiful lead performance. Tragically handsome, with bright blue eyes and blonde hair. He looks like the all-American boy. Except for the insane light shining in his eyes.The final scenes, where Peter finally gets to speak to his daughter, broke my heart. The young girl who plays the daughter has one of the most hauntingly sad faces you'll ever see in a film. When she asks Peter if her mother is really dead, the blank longing in her face will haunt me forever.The last image of the film will always stay with me. It sweeps away any vestiges of creepiness the story accumulates and forces you to realize that schizophrenics are human beings as well. Simply because someone has a mental disorder does not mean that they are not human. The last image shows Peter's daughter trying desperately to reach out to him, because their time together was so precious but so short.This film absolutely broke my heart. Extraordinarily sad.

Echotraffic Clean, Shaven opens up like many other movies which have tried to deal with schizophrenia: a lonely character, completely disconnected from the world, struggling with the non-controllable impulses caused by this mental disease. Not very original, I'm afraid, and we are left with the feeling of watching the beginning of a one-shot movie that we already know we'll dislike. Fortunately, that happens to reflect only the beginning. After about half an hour (yes, somewhat of a long starter), Kerrigan finally tells us that what we are going to witness is not that basic story everyone could read in so-called scientific magazines about schizophrenia. We are going to witness the psychotic mess from an internal perspective. Which turns the movie into one of the most painful experiences one could ever have. It's not really the acting or the direction, but the atmosphere which sparkles through the whole movie. Some closed, dust smelling, suffocating, awe inspiring and degenerated surrounding. Some infinitely violent scenes will bring you to these hidden mental places in which you'd rather die than lay. This is where the exquisite part of this movie remains (for lack of a better word). Whereas Spider or Fight Club depicted much more the external vision of schizophrenia, Clean, Shaven goes directly to the point: how difficult is it to be schizophrenic? You'll see that the movie is very noisy, some really disturbing noises, as if you were going through the same disease. As Funny Games directed by M.Haneke is purported to make you feel what psychopathy is. The result is the same: you'll end up exhausted, nauseated and perplexed. Some will end up fascinated. But you'll end up richer, either way.

cicerobuck Allright, it's not in the same category as Preminger, Lang, Ford or Reed, but still, this is an incredible use of sound, music, actors and minimalist camera action... If Bresson was American, he would maybe not even top that! The only movie that stands comparison to this one would in my opinion be Philip Ridley's The Mirror. Try to see it in a movie- theatre, then buy the tape or the DVD... Just watch the scene when the cop realizes he had it all wrong, the final ghostly scene with the daughter and the radio, the scene between Peter Greene (could it get better? maybe not even William Fichtner!) and his mother at the table. So much, so much... Clare Dolan (Kerrigan's second film) was great (opening credit sequence!), but maybe less scary.