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Clean and Sober

Clean and Sober

Drama · 1988

Hotshot real estate salesman Daryl has a bad cocaine habit. After embezzling his company's money, he wakes up next to a girl who overdosed. To hide from the police, he checks into a rehabilitation program guaranteeing anonymity. Under the mentorship of counselor Craig, Daryl accepts that he has a substance abuse problem. As he falls in love with fellow patient Charlie, Daryl begins committing to a newly sober life.

Movie details

Clean and Sober

“Thirty remarkable days in the life of an ordinary man.”

1988 Drama 2h 4m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

Hotshot real estate salesman Daryl has a bad cocaine habit. After embezzling his company's money, he wakes up next to a girl who overdosed. To hide from the police, he checks into a rehabilitation program guaranteeing anonymity. Under the mentorship of counselor Craig, Daryl accepts that he has a substance abuse problem. As he falls in love with fellow patient Charlie, Daryl begins committing to a newly sober life.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Clean and Sober?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Glenn Gordon Caron

Written by

Tod Carroll

Michael Keaton

Michael Keaton

Daryl Poynter

Kathy Baker

Kathy Baker

Charlie Standers

Morgan Freeman

Morgan Freeman

Craig

Tate Donovan

Tate Donovan

Donald Towle

Henry Judd Baker

Henry Judd Baker

Xavier

Claudia Christian

Claudia Christian

Iris

J. David Krassner

J. David Krassner

Tiller

Court is in session

Put Clean and Sober on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.