By Andrew Buckner
Rating: ****½ out of *****.
“Clean Up Duty” (2023), from director Christopher Di Nunzio, is a grounded yet quirky, disarmingly funny, and exceptionally well made take on the type of violent gangster sagas commonly associated with filmmakers like Martin Scorsese. The eleven-minute presentation further aligns itself with Scorsese in the sense that it masters the deftly sewn character focus and underlying intensity that coolly courses through Scorsese’s trademark style of picture. Yet, the last act of Di Nunzio’s undertaking takes on an unexpected, darkly comedic tone. It is one which wonderfully fuses with the ambiance of the otherwise generally sincere production. Moreover, it showcases a propensity to successfully surprise and take risks with the material which is always welcome.
The jokes demonstrated during this final stretch can be seen as lowbrow. Still, the organic and all-around terrific performances from lead David Graziano (Henry) and supporting actor Fiore Leo (Lou) make them work. The effectiveness of these instances, as well as the exercise as a whole, also masterfully reverberates from the excellent screenplay from Skip Shea. Said script is alternately thoughtful and playful. This is especially evident in the dialogue, particularly the banter between Henry and Lou, that is lifted from this arena. Furthermore, the climactic gag, which is exhibited in the effort as a twist of sorts, is a potently punctuative note for the piece. While slyly winking at the title of the composition, the humor spied here may also prove to some viewers to be cathartic. This is given certain fears that culminated during the Covid-19 pandemic.
The narrative revolves around Henry, who is in the Witness Protection Program, having his daily routines upended. This is when Lou, a shadowy figure from Henry’s past, appears in Henry’s house with a gun aimed at Henry’s head. Utilizing the ruse of having to use the bathroom before he is killed, Henry tries to outsmart Lou. When these attempts turn unconventional, it becomes another sign of the incredibly adventurous abilities of both Henry and the creation itself.
Such is an intriguing, if overly familiar, setup. The plot is at its finest in its dialogue-free opening four minutes and also in its previously stated conclusion. In the commencement, as we spy Henry going about his usual paces while nervously keeping an eye out on his surroundings, the affair is fueled by an addictive air of enigma and suspense. It’s compelling because it casually shows instead of blandly telling its audience what is transpiring. Such heightens the atmosphere of believability brought to the forefront by Di Nunzio’s superb editing, cinematography, and guidance of the project. The midsection, though engaging and pleasantly carrying on the nail-biting demeanor executed in the first act, is when the routine components of the story are most perceptible. Such elements momentarily hinder the fabrication.
Recorded in Exeter, Rhode Island, “Clean Up Duty” is boosted by a strong demonstration of sound from Laura Fietz and Patrick Timothy Yeo. It also implements tenor-appropriate music, which is wisely used in small doses, to pepper the proceedings. In turn, these items help make the construction an ambitious, layered, and memorable short subject. Di Nunzio’s latest offering is a marvelous venture and one of the best of its type that I have seen all year. It cleverly echoes the spirit of his brilliant features A Life Not to Follow (2015) and Delusion (2016). This is while proudly standing as a triumph on its own merits.
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