Clear Cut

Clear-Cut
Clear Cut

What is Clear Cut, one wonders, cut to Brian Skiba’s movies? The title might lead some to believe that the director has decided to be adorable and liberal on purpose since his story goes back and forth in an atrocious dance through what is somewhat of a narrative wasteland. The truth is that after, the second flashback in this case poorly edited movie (Skiba himself is also in charge of that), it becomes fairly apparent what is the movie trying to achieve with its story. The editing is astonishingly bad that when a flashback appears to Alec Baldwin’s character who has just died in the first few moments of the movie you wonder how incompetent the editors managing this scene were.

Characters that have passed on can return in the form of happy memories but seeing it appear here is ridiculous; you could switch the scenes to the beginning, and this already bad picture may be better. Alec Baldwin does not show his presence consistence after that too; the picture is uselessly like this. At least, the fact that there was no need to apply such a stupid spin to the plot at the focus of (I think?) the story was a relief. It is hard to make out as the editing makes the plot look more complex than it is. Apart from that, the fact that I have too many doubts in the first place about what the filmmaker wanted to achieve mostly in such a case already confirms that whatever he was trying to do with structure did not work. That’s putting it mildly.

The plot centers on Clive Standen who plays a jack named Jack, who takes up logging while heading to his mentor and boss Alec Baldwin for a job. Now, if reading this generates a sense of hope that there is some form of constructive, sincere, and positive message with regard to the furthering and straining of the forests, I would like to tell those readers this is one of those terribly low-budget VOD productions of Lionsgate that somehow manages to find its way into a few US theatres. He is out to avenge his friend, whose criminals were in the business of meth, and even here there are some logistical considerations that this film makes no attempt to address at all.

Almost everyone would agree that it’s Lochlyn Munro who beats everyone’s misery in the show, and that is not in a good way it is rather an already familiar and unwelcome sight of a redneck scumbag running with a crossbow loony who simply starts offing anyone jeopardizing his illegal enterprises. Stowing away a rather inexplicable chunk of cash to a meeting with a meth manufacturer who resides in what looks to be the middle of nowhere, the handsome buyers’ leader tosses the cash into the back of a truck and asks Jack to grab it and run. Stephen Dorff also features as a Park Ranger who divides his attention between the two opposing manners and delves deeper and deeper into the conflict. The less one knows about the women who make an appearance in this film, the more wholesome one will feel after leaving the theater.

Clive Standen as much pulls off the showering emotional residues of loss and does well in portraying brute force. Still, the drama is compromised by the film (the script is credited to Joe Perruccio) having contrived events that are insulting and add unnecessary melodrama. In terms of the direction, nothing here is worth talking about except for one or two snippets near the conclusion where Clive Standen seems to be having issues managing his character’s rage and sadness. There is a possibility that if you time someone the last ten minutes of Clear Cut, he is bound to make the mistake of thinking that the film you just saw was a quite good picture. Luckily, what cannot be misinterpreted is that this is certainly not worth a look.

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