Math truly can drive people to murder.
Ever since he was a kid, Christian Wolff (Ben Affleck) has had issues dealing with the world around him. Now that he’s older and on his own, well, he’s a whole lot wiser, even if his people skills aren’t all that great still. Still, he’s a mathematics savant that helps him get by and make a living, solely freelancing as an accountant for dangerous criminal organizations and other shady businessmen who sometimes like to keep their private information, well, private. However, a certain someone is trying to find out just who this Christian Wolff guy is and what his plan is – and that certain someone is treasury agent Ray King (J.K. Simmons), who recruits a young employee (Cynthia Addai-Robinson) to assist him in any way that she can. While they’re are looking into him, Christian takes on a state-of-the-art robotics company as a legitimate client. But once Wolff realizes that there’s more going on underneath the hood of this company, then more and more people start getting killed, which leads Wolff to making some very deadly decisions.
A part of me is actually surprised about the Accountant‘s rather lackluster reception among critics. Here is, for the most part, a piece of adult-entertainment, that’s dark, weird, violent, and mysterious. I dare call it “original”, because lord only knows how many movies about murderous-accountants there are actually out there (Google says “none”, but you never know), but still, it has all the qualities of the sort of movie that critics and adult-audiences seem to love and adore.
So why don’t more and more people like it?
Well, for the most part, it is a very odd movie. Despite director Gavin O’Connor having made some normal, relatively simple character-studies with Warrior, Miracle and Tumbleweeds, here, he seems to have gotten brought into the cold, cruel world of Bill Dubuque’s script – one that literally features an accountant with Autism, kicking ass, taking names, and shooting all sorts of people down, whenever he isn’t doing math and charming the pants off of fellow accountants. It sounds so strange and in ways, it actually is, but somehow, Dubuque and O’Connor seem to come together in a way that makes this weird world actually work and take place in some sort of reality to where we care for the characters, their situations and most importantly, what actually happens.
The Accountant is interesting in that it wants to be about Christian Wolff, his issues growing up, and his issues as an older-man trying to wade through the world, but at the same time, still wants to be this violent thriller in which rich people are getting knocked-off one by one. We know there’s a connection along the way, somewhere, however, the movie still plays both sides of the field, making it appear to be two movies, yet, still feeling wholly as one. It’s odd to describe, I know, but the Accountant is the kind of disjointed, uneven movie I would normally despise and be confused by, but that didn’t happen this time – instead, I was actually brought in by the story and most of all, its characters.
And playing against-type, Ben Affleck is, as usual, pretty great. He has a lot of weird tics that he has to go through with Christian Wolff, but mostly, Affleck does it all in an effective way to where this guy’s still a total mystery and we don’t know what he’s going to do next, or to whom, yet, we still like and trust that he’s a good person. Part of that is Affleck’s general likability, but another part of it is that the movie does an effective job of placing flashbacks when they need to be placed, which allows us to know more and more about Wolff’s adolescence and get a better, if more sad, picture of what this dude’s life has been.
Oh, and it also helps us be absolutely shocked when he starts killing people with the simple pull of a trigger.
Others in the cast are quite good, too. Anna Kendrick has a silly role as the fellow auditor, but still gets by on being charming; J.K. Simmons has a dumb scene in which his character explains everything that we need to know about Wolff and their history together, but besides that, he still does a solid job playing; Jon Bernthal is cool, but menacing as the one hitman who’s going around and shooting down all of these rich folks; Jon Lithgow has a couple of crazy moments that makes me wish he would take more of these darker flicks; and Jeffrey Tambor, unfortunately, isn’t around a whole lot, but a part of me feels like a lot of his stuff may be somewhere on the cutting-room floor.
Still, what all of these performers do, and do well, is that they all add a little something to a movie that, quite frankly, could have come off way too serious and melodramatic. In a way, they help it all come-off more legitimate, with Bernthal actually getting one or two emotional moments that hit the right notes, even in a movie that wouldn’t seem to know anything about them. This allows for all of the blood and violence that does eventually come around, to hit a whole lot harder and feel like more than just your typical action-thriller – it’s one with more on its mind and more in its heart.
As strange as that heart may be.
Consensus: While not perfect and definitely an odd hybrid, the Accountant gets by on a solid cast, a smart direction that takes itself seriously just enough, and a couple of nice twists and turns that keep this mystery alive.
8 / 10
Photos Courtesy of: Indiewire