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Film review: ‘The Accountant 2,’ plus some whining

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I saw The Accountant 2, on Amazon Prime, and my purposes tonight is to write about that.

But first, a little about my aches and pains. Because I’m old, dadgummit, and I find the spectacle of my personal deterioration endlessly fascinating.

And since I’m such a transcendent wordsmith, it must surely fascinate you, too.

What I mean to say is, yesterday I was moving around in considerable pain. The pain was in my lower back. I felt like I’d fallen and bruised it (I hadn’t), or I’d strained a muscle (not to my knowledge), or I’d overworked myself lifting and carrying heavy things (ha ha ha).

I had done none of those. Sunday was a quiet day for me, and I’d spent it mostly reclining on my couch or (for a touch of variety) on my bed.

The point is, I did nothing.

And the following day I felt like Sisyphus on one of his bad mornings.

To put it another way – I am now at a point in my life where I can hurt myself by doing nothing at all.

And behold, a great fear came upon me, yesterday. “This affliction befell me for no reason, in the manner made popular by Job the patriarch. So if it came from nothing, maybe there’s no way to get rid of it, either. Maybe this is my new normal. I’m old. Anything can happen!”

But I’m better today. Stiff, but I can walk sort of normally, and I went to the gym. Which is a great relief to me, as well as to all my legions of admirers.

Just needed to get that off my chest.

Anyway, The Accountant 2.

I liked the first Accountant movie very much. I seem to respond well to any story about autistic characters, which leads me to suspect I’m probably on the spectrum myself.

But not like Christian Wolff, our hero (Ben Affleck) is. Christian can do the most complex math in his head. He lives a strictly regimented life, dwelling in a surgically clean and neat Airstream trailer (though he’s fabulously rich), eating precisely the same foods every day, wearing precisely the same clothing. He craves order and peace, but happens to be a deadly martial artist. (Just another way of ordering chaos.)

He makes his living doing the books for various illegal enterprises – criminal gangs, drug smugglers. He seems to have no conscience about such matters, but does feel strong bonds of loyalty to old friends, and to his brother Braxton – though he never calls him and does not miss him in his absence.

As the movie starts, an old friend of Christian’s is murdered, in an incident involving a mysterious female assassin, Anaïs. He is called in by Marybeth Medina, director of the FBI division FinCEN, to help her find the murderers. Christian in his turn calls on his brother Braxton, who’s a professional assassin. We get to observe a lot of amusing sibling dynamics as these two strange men revert to childhood patterns. Braxton, who is relatively “normal” (for a killer), is frustrated by his brother, but also protective of him.

The partnership with Marybeth has to be ill-fated – being a good Fed, she has lines she won’t cross in an investigation. Christian isn’t even aware of such lines. They then proceed on separate paths, until they reconverge in a confrontation with vicious human traffickers and the mysterious Anaïs, who carries a dangerous secret.

I enjoyed The Accountant 2 fully as much as the first film. (Ben Affleck was born to play an autistic character.) But I have ambivalent feelings about the story, from a moral point of view. Here we have a character who seems to possess no moral sense – only a personal sense of order. And we pair him with another character (his brother) who’s almost equally deadly and has suppressed his conscience. Yet both are intensely sympathetic and relatable – I suspect we’re all growing a little autistic in the modern world, which is what makes these movies so compelling.

Interestingly, there’s a scene in The Accountant 2 that mirrors one of the most memorable scenes in Gregg Hurwitz’s latest Orphan X novel, Nemesis. Both scenes involve an autistic person getting into Country line dancing, and finding themselves unexpectedly in happy synch with other humans. Both scenes work very well, though they come out differently.

So, in conclusion, I’m not sure what to make of The Accountant 2 in moral terms, but I sure had a good time with it. Especially recommended for the socially awkward. Cautions, needless to say, for language and violence.

Reviews

Full-blown film review: ‘Viking’

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Viking film 2016

(I did a preliminary review of this movie yesterday. I’ve watched it a second time now, and am prepared to pontificate.)

Viking, a Russian film directed by Andrei Kravchuk and much anticipated by Viking buffs, arrived last winter with all the acclaim of the dog that did nothing in the nighttime. Critical response was mixed, and the film got almost no US distribution. The DVD is available, though, now, and you can own it. It’s worth viewing, but I expect you’ll agree that it’s a movie in search of an audience.

The film is based on the career of the historical Prince Vladimir the Great of Kiev, the man who converted the Russians to Christianity and is revered as a saint. He did not come by his sainthood gently, though, as the film makes clear (the history here isn’t bad, considered in very broad strokes).

Vladimir (Danila Kozlovsky) is the youngest of three brothers, descendants of Vikings, and each the prince of a different Russian town, in the 10th Century. Vladimir is the least of them, not only in age but in status. He’s the son of a slave woman, and touchy on the subject. The eldest brother’s men murder the middle brother, after which Vladimir arranges the killing of the eldest. Now he’s the sole prince of all the Russ, but he has to prove himself worthy. He takes a high-born wife (Aleksandra Bortich) by force, and digs up and restores what they call “Father’s God,” a bloodthirsty idol worshiped by his late father, who was revered for his strength. Vladimir hopes to acquire that same strength, at the price of human sacrifice. Continue reading Full-blown film review: ‘Viking’ →

Reviews

Pre-review: ‘Viking’

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Viking film

(I’m calling this a “pre-review,” because I think this movie, for good or ill, requires another viewing before I pass final judgment on it.)

If you’ve been following this blog, you may have noted over time my anticipation of a Viking movie coming out of Russia. The film, simply titled “Viking,” arrived last winter, not with a bang but a whimper. It got very little distribution in the US. The other day I checked to see if it was available on DVD, and behold it was, on Amazon. So I have it at last.

And I’m bemused. It’s certainly an epic, and I think it succeeds on that level to an extent, with big battle scenes and special effects that worked for me (at least). The problematic part seems to be the (highly fictionalized) dramatization of the career of the hero, Prince Vladimir (the Great) of Kiev (Danila Kozlovsky). The real Vladimir was a pretty bloodthirsty character, who murdered his own brother in his pursuit of the throne. In this version, Vladimir is basically a nice guy, who sort of stumbles into his crimes (including raping the woman who becomes his wife, played here by the gorgeous Aleksandra Bortich), and he feels really bad after each atrocity. Eventually he finds peace for his soul when he converts to Orthodox Christianity, in what I consider a pretty successful evangelism scene in a cathedral.

And that points up the weirdness of the movie, a weirdness that may have doomed it with distributors. It’s a very Christian “message” film, one whose final scene is reminiscent of a Billy Graham production. Yet it also involves lots of gore and violence (heathenism is treated non-romantically, which I appreciated), and a couple of vigorous sex scenes with unabashed female nudity.

How do you categorize a movie like that? It deserves its R rating, and you probably won’t want to rent it for family movie night. (Wikipedia says there’s a family-friendly version, but it’s not offered on Amazon.)

In terms of authenticity – so-so. Better than the History Channel series, I’d say, but very much in that tradition, as well as the tradition of Game of Thrones, which may have been an inspiration for the whole project. As in the TV series, all the costumes involve too much leather and tend to be either brown or gray, contrary to the true Vikings’ love of bright colors. The armor tends to be leather rather than mail, even on chieftains. I’ll probably find many other mistakes on closer viewing, but that’ll do for now.

My overall (tentative) judgment is… let me watch it again. There may be qualities here I haven’t appreciated yet. I didn’t hate it, and it was actually better than I expected, after what I’d read of critical responses.

Reviews

Film review: ‘The Case for Christ’

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The Case for Christ wasn’t what I hoped it would be, but on consideration, I don’t think such a thing is possible. I liked it anyway. I think it’s one of the better Christian films I’ve seen.

Granted, that’s a low bar. But this is pretty good, within its limitations.

If you don’t know already, it’s the story of how Lee Strobel, hotshot young Chicago Tribune reporter, came to write the famous book of the same title.

In 1980, Strobel’s daughter’s life is saved by a nurse who gives the credit to Jesus, who (she says) told her to be there at just that place and time.

Lee’s wife is intrigued by the woman’s faith, and befriends her. She goes to church with her, and is drawn into the fellowship.

For Lee, this is a major betrayal. He’s a confirmed atheist who refuses to believe anything not based on reason (though his resistance to faith, we will learn, also has other, more emotional roots). Fearing that he’s losing his family, he sets about writing a book to prove, once and for all, that the Resurrection never happened.

And you know how that turns out.

The acting is excellent, the script good. I particularly liked the recreation of the world of 1980, as Lee fusses with his long hair and depends on a pager to keep in touch with his wife. The filmmakers may not have recreated the period perfectly, but it’s pretty much how I remember it.

The problem with the film is that it’s kind of a mixed offering. The book it’s based on is an attempt to do a dispassionate, rational examination of the relevant evidence. You can’t really do that in a feature film – you’d have to make it a documentary longer than anyone would sit through. So the focus has been changed from the objective logical argument to the subjective lives of Lee Strobel and his friends and family. That’s certainly appropriate – it’s what a feature film does – but it’s a different thing from the book. If you’re looking for proof of the Resurrection, you’ll need to read the book. The movie is not that.

But it’s good. A superior film in the low-rent neighborhood that is Christian cinema. No doubt there are people out there for whom The Case for Christ will be just the thing they need to see.