Starring Ben Affleck, Anna Kendrick & J.K. Simmons
Directed by Gavin O’Connor
In theaters Oct. 14, 2016
“Do you like puzzles?” veteran U.S. Treasury director Ray King (J.K. Simmons) asks newbie analyst Marybeth Medina (Cynthia Addai-Robinson) as he introduces her to one last big, baffling case he wants to crack before he retires.
King wants to reel in the mystery man behind an international string of dirty-money laundering, an American who seemingly moves with ease through the slime of the world’s underbelly of gangsters, cartels and drug kingpins as well as regular billionaire businessmen who need to tidy up their “financials” quietly and quickly—and H&R Block is out of the question. King calls him simply The Accountant.
“Who survives this kind of clientele?” King muses. “Coming in cold, cooking the books and getting out alive?”
Puzzles play a significant role in The Accountant, which starts out with a familiar cops-and-crooks, espionage-movie feel but quickly corkscrews into something with more twists, turns—and pieces.
Ben Affleck plays Christian Wolff, a mathematical savant whose bland “day job” as a nondescript, pencil-pushing accountant is his cover—his disguise—for wide-ranging contract work, zipping around in his Chevy pickup and his totally tricked-out 34-foot-long Airstream trailer. Because he ventures in and out of some dicey, dangerous situations, Wolff has also developed a highly specialized skillset in other areas, too.
When things take a turn for the worse or run afoul of his strict moral/ethical code, he does whatever it takes to set them straight. Bullets fly, blood flows, bodies crumple. He’s like a laser-focused cyborg, a walking lethal weapon—a hulking superhero without a costume.
In fact, his “origin story,” told in flashbacks, might remind you of how Bruce Wayne became Batman (another role, as you probably know, currently played by Affleck in DC’s big-screen franchise) or how other superheroes got started down their paths.
When we first meet young Christian as a boy, he’s working on a jigsaw puzzle.
But here’s where The Accountant takes its first turn. Christian has autism, which explains much about how he grew up and became gifted with numbers, but not so tuned in to people. There’s a whole subplot about how his domineering military dad (Robert Treveiler) further shaped and steeled—rather than coddled—him, helping shift his neurological condition from a liability to an asset.
A stint at a minimum-security prison introduces Wolff to an organized-crime bookkeeping snitch (Jeffrey Tambor) who takes him under his wing, teaches him basic socialization skills and schools him in the “dark-money” arts.
When Wolff is hired to find the source of $62 million leak at a high-tech robotics firm, it puts him and a perky young employee, Dana (Anna Kendrick), on the hit list of an assassin (Jon Berthal) and his crew hired to stop them and cover their tracks.
The original screenplay, by Bill Dubuque (who also wrote The Judge), craftily keeps you guessing—although some viewers will probably see the movie’s biggest “surprise” twist coming long before it arrives—and plants several puzzle pieces along the way to be picked up and set in place later.
In the middle of the action is another story entirely, a tale of family, siblings, daddy issues, kids who are “different,” and the relationship between Wolff and Dana, which doesn’t necessarily go where another, more conventional movie might have taken it.
It’s so cannily drawn in its characters, backstory and detail, it sometimes feels like the pilot for a new TV series or the setup for another movie. I guess we’ll have to wait and see: Where The Accountant will turn up is a puzzle with a piece that’s always missing.
—Neil Pond, Parade Magazine