As someone who finds it difficult to connect with police and drug themed cinema, Clean Hands caught me by surprise. A tender father-daughter relationship at the core elevates standard addiction fare to something much more powerful. From the second one presses play, intercom conversations play over the opening studio logos, eventually transitioning to follow a police chase from the very first frame of action. No time is allotted here for boredom, as it all moves too fast.
Brooke (Esther-Rose McGregor) and Kevin (Zach Braff) share a convincingly close bond, with an on-screen dynamic that feels genuinely sincere, due in large part to Braff’s compelling performance. Abigail Spencer is equally strong as Brooke’s mother, Dana, though the role ultimately feels underutilized. Their performances collectively suggest a deep emotional investment in the subject matter, whether rooted in personal experience or a genuine passion for addressing America’s drug epidemic.
Kevin, in particular, is provided substantial character development. Upon his introduction, he appears far removed from any likelihood of redemption for the cop community. Brash, condescending, and manipulative, he is more consumed by arrest statistics than meaningful social impact. Those he cuffs as viewed as subhuman low lives, unworthy of his empathy or time. When his daughter’s behavior directly contradicts his no tolerance career mission to crack down on drugs, Kevin is in a state of internal upheaval.
We experience the ups and downs present in a traditional, bleak addiction drama, but a revenge subplot to criminalize those responsible for Brooke’s demise adds another layer to the narrative. Insurance commentary is even weaved in to demonstrate how poor the status of healthcare is in America; profits are chosen over vital medical care. Color grading puts the audience in the troubled mindset of protagonists at their lowest. Darker blue and green tones are utilized to depict drug use or illegal activity.
Perhaps Clean Hands’ success lies in its origin as a true story with genuine emotions and people to draw from in performances. The inclusion of players from real life, such as the woman leading the substance abuse class, as actors in the cast even further amplifies authenticity.
The only significant critique is that the launch of Brooke’s House is included too late. While there is clearly much more to explore surrounding the organization’s inception, impact, and construction, only fifteen minutes of screen time are given. Given the success of this real life organization is likely the reason this movie even exists, its development deserved greater depth and attention to avoid feeling rushed.
Step into a morally complicated landscape where empathy and long-held convictions collide when Clean Hands premieres at the 2026 Tribeca Film Festival on Sunday, June 7.
