Ben Affleck and Anna Kendrick are two incredible stars, but when they’re put together in ‘The Accountant,’ it wasn’t exactly a home run, according to critics. Here’s what they’re saying — will you see it this weekend?
The timeline of The Accountant is so arbitrary that the subplots seem shuffled like pieces of an unfinished jigsaw puzzle. Entire back stories were presumably left on the cutting-room floor of this overlong movie that never arrives at a destination.
The problem is that endings matter. I was thrilled at watching more than an hour of Ben Affleck playing Christian Wolff as a socially awkward, arithmetically gifted, martial arts expert sharpshooter. But then the plot devolved into nonsense for the final stretch, leaving me wanting to garnish the filmmakers’ wages. Character development is excellent, only adding to the disappointment.
None of it seems all that far removed from world of Batman, at least not the one envisioned by Christopher Nolan, and we can hope that, when Affleck gets around to directing his own chapter of the Dark Knight saga, it will be as well-constructed and focused as this film. In the meantime, there should be enough common DNA here to appease fans: Simmons may as well be this movie’s Commissioner Gordon, while Wolff’s backstory reveals a tortured vigilante who may as well be wearing a cape and costume, but instead feels most comfortable in his wireframe glasses and pocket protector.
“How can you make a financial intrigue thriller more exciting than average?” You can almost hear screenwriter Bill Dubuque ask that question and then crack his knuckles during the opening minutes of “The Accountant.” Said opening minutes, directed with customary nose-to-the-grindstone conviction by Gavin O’Connor, feature a strange scene of an urban mob massacre, tinged in sepia and boasting a lot of faux-celluloid graininess, to imply “period grit.”