For all filmmakers, knowing when to keep things simple is
always a challenge. Brevity is fine, but keeping things too simple can make for
a predictable and ultimately boring film. But making things too complicated can
also be a bad thing…as stories can be hard to follow and characters can easily
get lost amongst the sea of plot-lines. Such is the challenge for director
Gavin O’Connor and THE ACCOUNTANT.
Christian Wolff (Ben Affleck) grows from a gifted autistic
child to be an even more gifted accountant who cooks the books for the mafia
and the cartel while becoming a superior marksman and unbeatable hand-to-hand
fighter. When Dana (Anna Kendrick) discovers a flaw in the financials of a
large corporate robotics company, the head of the company (John Lithgow) hires
a hitman (Jon Bernthal) to take out Christian and Dana. Meanwhile, a U.S.
Treasury officer (J.K. Simmons) blackmails a younger officer (Jean Smart) to
help him bring in Christian.
Much like the profession that it is named after, there is
nothing about THE ACCOUNTANT that is simple. Gavin O’ Connor juggles many
plotlines; corporate embezzling, a police procedural, Christian’s backstory, a
cat-and-mouse game, organized crime, and a statement on autistic people and how
they can adapt or be rejected by society…are all weaved in and around and all
over. There’s a lot to take in and despite the film’s middleweight-running time
of two-plus hours, becomes too much for it to bear. The script, clearly feeling
the burden of all the plotlines, actually stops the film dead in its tracks for
what seems like forever for one character to sit down and verbalize a ton of
endless backstory.
Despite the corporate financial embezzling being like
listening to ancient Greek, when THE ACCOUNTANT clicks, it clicks well.
Christian Wolff is a fascinating character to watch. He’s socially awkward and
withdrawn, and answers all questions with stone-cold logic and brutal honesty
(picture Mr. Spock turned up to 11). When the film spends time with him coping
with his condition or trying to solve a problem, it’s hard not to be completely
engaged. The fight scenes and shootouts are fantastically done; they never go
over the top and are presented as real as can be.
Ben Affleck is terrific in the role. He practically vanishes
behind his style-less nerd glasses but also disappears into the character. We
can tell there’s more going on behind his stone-cold face and quiet demeanor.
Anna Kendrick is adorable and acts as a nice foil to Christian, and Jon
Bernthal lights up the screen as the flamboyant hitman.
For as unnecessarily complex as the main story is, we are
ready forgive a lot during the climactic final fight scene which is tremendous
to take in…but then the film dives into a plot twist or two which falls well
short of their intended shock value. Both of the reveals are well intentioned
but feel like a lazy shortcut to wrap up story threads. As much as the film
tries to wrap things up neatly, there are still leftover threads out there when
the credits roll; such as Christian’s large leap from autistic child to
accountant for the mob, and the Treasury officer blackmailing a younger officer
is totally unnecessary. Overall THE ACCOUNTANT gets the job done, even if it is
as confusing as a new tax law and deserving of an audit.
BOTTOM LINE: Rent it
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