Anna Kendrick, anti-hero, antihero, Batman, Ben Affleck, crime drama, film review, J.K. Simmons, John Lithgow, math, psychological, R.L. Terry, The Accountant, The Big Short, triller, U.S. Treasury, Warner Bros
A moderately good investment of your time. The Accountant is quite the interesting crime drama that shows that math can be exciting and lead to dangerous adventures. Directed by Gavin O’Connor and starring a phenomenal cast including Ben Affleck, Anna Kendrick, J.K. Simmons, and John Lithgow, this film will keep your intrigue the entire runtime. What makes this film most interesting is the approach one might take when screening it. You can either approach it from a psychological/behavioral or a financial perspective. Although the plot is a little difficult to follow at times, the solid performances by the actors make the film one not to miss if you enjoy thrillers involving the government, covert ops, and savants. While some in the U.S. are shouting “make America great again,” Warner Bros. is shouting “make math sexy again.” From drop-dead shoot-out scenes to awkward comedic interactions, The Accountant will definitely have you thinking about it even after leaving the movie theatre. One the verge of being a non-linear film, the main plot does, at times, get lost in a few poorly integrated sub-plots. Definitely feels like one of those movies where important scenes that would have better supported or developed some of the sub-plots were left on the cutting room floor. The movie is not without its highlights. Affleck and Kendrick deliver outstanding performances that hold the film together. Whether it’s Affleck’s vacant expressions on his face or Kendrick’s WTF moments, the best part of the film is the talent on screen.
Talk about a double life. Accountant Christian Wolfe (Affleck) runs a small accounting agency in a nondescript strip plaza as a cover for his real work as an accountant and financial analyst for many organized crime groups. When the U.S. Treasury Dept begins to investigate him further, he takes on a seemingly normal client in an innovative robotics company. Forced to work with a beautiful and geeky in-house accountant (Kendrick), Wolfe is challenged with conducting a forensic analysis of the financial records in order to determine if there is embezzlement or money laundering occurring at the humanitarian robotics company. When he uncovers corruption, his life and the life of his counterpart is in jeopardy. Good thing Wolfe has an extensive background in martial arts and tactical armament.
Central to the plot of the film is the fact that our protagonist Christian Wolfe (Affleck) is on the autism spectrum. Although, he is on the high functioning end (often times diagnosed as Aspergers syndrome), Wolfe certainly displays classic signs of autism throughout the movie. More noticeable in his younger years, he still carries some of the psycho-social dysfunction into his adulthood. Wolfe’s father was a high-ranking official in the Army specializing in psychological warfare. He ran his home fairly, but with an iron fist. Both Wolfe and his brother were highly affected by the departure of their mother at Christmastime. The following years were hard on both of them. Coupled with–let’s be real here–daddy issues, Wolfe channels all his time and energy into military operations, martial arts, and psychological defenses. But, this intense training was forced on him by his father in order to combat the behavioral issues brought on by autism. After the death of his father, Wolfe decides to go from hero to anti-hero by making his living off organized crime but funneling his money into charitable causes. Although he may not have been racking up zeros in his bank account, he found other ways to be paid: valuable original artwork. The character of Christian Wolfe posts quite the dichotomy of attributes that create an interesting juxtaposition. One one hand, Wolfe is a ruthless criminal but not he other he is a humanitarian who appreciates fine art and loyalty.
There haven’t been many movies that fall into this sub-genre of drama. The Accountant is what you get when combining Batman with The Big Short. Because the film contains the classic elements and plot devices found in the aforementioned films, it has a little bit of an identity crisis. One of the flaws that besets this film is too much sub-plot. If the writer had spent more time developing the autism or concentrated on the daddy-issues sub-plot then perhaps the film would have flowed more smoothly. As it stands, the flashbacks introduce too much under-developed material into the high-concept plot. It’s almost as if the writer and director took a high-concept film and attempted to give it more emotional depth. The result is a fractured film that is interesting to watch and includes some dark comedy but suffers from coherent storytelling.
There aren’t too many choices at the cinema this weekend. If you are looking to laugh your ass off, then perhaps the Kevin Hart film will fit the bill; but if you are looking for an interesting film that highlights the potential and capabilities of those who are diagnosed as autistic and channel those abilities into a financial thriller, then The Accountant would be an excellent choice. Although there have been films featuring protagonists with physiological or psychological disabilities, this one is unique in that the main character harnesses the powers of the indirect affects of autism, and becomes an anti-hero who the audience roots for the whole time.