Add in a lead forced to change identities on the fly plus a dog for comedic relief and the plot descriptions fits 30 or more. The ’90s vomited these comedies – a mobster villain, important item(s) of note, and a few million dollars. Most of Clean Slate uses the memory loss for exposition. Amnesia stories are flushed with identical scenarios.
Pogue gives a confused birthday speech for five extended minutes and that’s the first zinger of the movie. Despite a rash of last-minute twists, the ponderous and eventually obvious march toward the contrived courtroom clash has little zip.Ĭlean Slate veers exhausting, begging for a firm editor.
Gags stretch on aimlessly, continuing to swim the waters of Pogue’s unfortunate memory condition. His character changes to suit the script. Carvey plays things low-key, awkward, dim witted, smart each scene feels interrupted by a different style. Carvey’s Maurice Pogue doesn’t have the personality of Garth or Carvey’s other characters, repetitiously bombarded by Clean Slate’s singular gag – he loses his memory every morning. Following the Wayne’s World pairing with Mike Meyers, Dana Carvey turned solo for the thin crime caper Clean Slate, a movie smothered by its quirks of the decade.
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