‘The accountant’, the autistic cousin Jason Bourne
The name Ben Affleck was associated for more than a few years at Matt Damon, which makes sense when you consider the strong friendship between them and the fact that both won the Oscar for best original screenplay for his work in ‘Good Will Hunting ‘. Affleck’s career took very little to take off, but in the middle of the last decade took several years of respite before the cameras that came in handy.
At the time, Damon was one of the biggest stars in Hollywood, largely by giving life to Jason Bourne, role to which he returned a few months ago with slightly unsatisfactory results. Now is Affleck who has gotten into a character more or less in line created by Robert Ludlum in ‘The Accountant’, a thriller discreet is working at the box office better than initially expected.
A thriller that wants to be more
As Bourne, Christian Wolff is a character quite physically and short rigid, which not a few see it as an advantage for Affleck, who, on many occasions, we have missed a greater expressiveness to ensure that their actions were to desired level. That does not mean that their interpretations are necessarily bad, but sometimes left feeling that another actor might have taken more out of their characters.
His double life as a lethal murderer also serves as a direct connection to the character played already four times by Damon, but that the major point of disagreement arises, as Bourne uses his skills to regain his memory, while Wolff makes use of them to curb any threat to its peculiar lifestyle. Therefore, Wolff is not a killing machine, but a being with various psychological problems that is grappling with the best way he knows .
This leads to the script Bill Dubuque, responsible for the libretto of the failed ‘Judge’, to try to combine the simple routine implacably although the protagonist with an attempt to deepen what led him to become in what is today.On paper, a laudable decision not to extend his story over the account possible consequences, but at the moment of truth that is something that becomes the greatest enemy of ‘The book’.
‘The book’ ambition unrewarded
To be fair, ‘Accountant’ not so different from certain titles of action of 80 with an expressionless hero who is handing Bast wherever he goes . That is the core of the film and there could have left a more than worthy film and a further solvent entertainment. Unfortunately, the explanatory flashbacks break the rhythm of the story causing disconnections interest which never ends then recovered, and his attempt to be a tape with a message regarding the illness of its protagonist also never get to jell.
It is true that so everything takes on greater depth, but rhythm problems are not the only thing that one has to face Gavin O’Connor at least manages to give some visual entity to the proposal, especially the scenes of action- . The big problem is that everything is sacrificed for the benefit of the protagonist, and on top is not for the brilliance of Affleck – or action which could easily have been “new” ‘John Wick’ – which meets slack, but in an attempt to tie up all the loose ends so you just flirting with ridicule during its final stretch.
That extra dose of drama could have raised ‘Accountant’ to another level, but when the truth creates an imbalance such that also affects other characters – Anna Kendrick ends to fit into the universe of Wolff, but never comes a point in which just pass it, thus losing more humane counterpoint contribute- and causes everything about this mysterious enemy is simple-indeed deduce who he treated who must deal ends up being the most monotonous .
At the end we have a thriller disappointing action, and works best when it leads to some comic moments bathed by a layer of both family drama as more psychological – cut starting discreet and progressively damaging the film to sink completely during their last minutes. True that everything fits according to the internal logic that arises including the police subplot that should have, but does so in a forced way without engaging the viewer never achieve.
In short, ‘Accountant’ is a failed hobby for trying to be something more than that. I like that try to be ambitious, but we must know how to be to not end up playing against you. Here what really works is the personal commitment of the protagonist to finish everything begins and probably would have been better playing cluelessness about how he came to be. To hang out in an afternoon of minimum requirement and little else.
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