"The Accountant" sure adds up for me

While The Accountant may be a movie of the sort of formula we’ve seen done before (I first think of George Clooney’s The American or Clive Owen’s The International, but there are others), it’s sure nice when one of these “international web of intrigue” flicks that we think will be so predictable turns out to be so enjoyable.  Sure, The Accountant’s plot is all but paper-thin and the major points of the third act are visible coming down the road from a mile away, but darn it, it’s just done so well that I enjoyed the crap out of this one.

This time around, Ben Affleck plays Christian Wolff (one of many aliases the character utilizes), a seemingly anti-social bean counter with a knack for bluntness.  In truth, he has a high-functioning form of autism with a “Beautiful-Mind”-like talent for numbers, apparently living a quiet life as an accountant, operating out of a non-descript strip mall office and helping struggling locals with their taxes.  On the side, however, he also investigates the money problems of dangerous clients and powerful corporations and “settling accounts” by any means necessary.  Having this sort of clientele is not without its risks, however, and thankfully Wolff was raised by his Army SpecOps father to hone and channel his disability, and is now an expert marksman and ass-kicker, should any such complications arise.  In an attempt to find some more legitimate business, his unseen secretary/handler/confidante (I know, it’s getting goofy-sounding, but just roll with it for now) steers him towards a freelance job investigating the books of a robotics company headed by Lamar Black (John Lithgow), where a low-level employee (Anna Kendrick) has discovered some accounting discrepancies.  

While there are three sets of characters to follow through the movie, and all of the supporting actors are terrific (maybe with the exception of Lithgow and Kendrick, but admittedly, neither had much screen time to work with), it’s obvious that this is Affleck’s movie, and he carried it with ease upon his now Rock-like shoulders.  Embracing the tics and maddening intensity of a true autistic, Affleck demonstrates once again how he has honed his acting skills into a much more restrained, nuanced performance than I believe he could have delivered a decade ago.  This is an actor who no longer accepts being a weak link in any of his films, and has worked his way to deserving leading-man status.

Director Gavin O’Connor (Miracle, Pride and Glory) brings to life a script that has been floating around Hollywood for several years (and even landed on the 2011 “Black List” of best unproduced screenplays), using flashbacks and changes in character perspective to deftly juggle the film’s numerous narrative threads. Admittedly, the movie occasionally drifts into territory that borders on farcical, but it always manages to rein itself in at just the right moment before straining the limits of credulity to the breaking point.  He succeeds at striking a balance between action and solemnity that will feel instantly familiar to fans of his well-received MMA drama Warrior.

The tone O’Connor sets is probably what I enjoyed about most about the movie.  With so many Bourne-esque thrillers of the last twenty years remaining so dour and serious throughout their runtime, The Accountant has just a handful of winks or dry-humor moments to break the tension for just a second without coming across as silly.  The result is a thriller that’s been tossed into a blender with a gleefully silly action flick and has come out far more compelling than either of those ideas would have been on their own, and also comes as a welcome reminder that even though the box office these days tends to be overrun with sequels, remakes, reboots and “re-imaginings,” it might be possible that Hollywood hasn’t quite run out of great ideas just yet.

"Batman V Superman: Dawn (and morning, and midday, and afternoon) of Justice"

In my nearly half-century of life, I have spent more than my share of time and money on comic books.  There are Marvel Comics fanboys and there are DC Comics fanboys.  I have no loyalties - I am a comics slut and give my love freely to ‘em all, and then some!  This admission means, of course, that I am instantly and unashamedly incapable of giving an objective review of the first movie depiction of DC Comics’ “Holy Trinity” of superheroes, namely Superman, Batman and Wonder Woman.  Like many geeks, I have been longing for such a movie the majority of my life, so it would take a pretty atrocious film of these characters meeting and doing battle to earn a horrible review from me.  Is this an atrocious film?  Absolutely, positively not.  So, is it a fantastic film?  Absolutely, positively not.

Batman v Superman: Dawn of Justice, a mouthful of a title if ever there was one, is directed by Zack Snyder (300, Watchmen), who also directed this film’s predecessor, Man of Steel. The movie opens with that film’s climax, but showing us the mass carnage of Superman’s (Henry Cavill, back again) battle over Metropolis from ground level this time.  The seemingly World War III-ish destruction from that film is not glossed over, and serves as the impetus for this one.  Bruce Wayne’s (Ben Affleck) financial empire has holdings in Metropolis, and he is there that day, seeing his property and, more importantly, his employees, being crushed by the aliens engaged in a death-match all over the city.  Who’s to blame for all this?  Sure, Superman saved the world, but a world now with a few hundred thousand fewer people alive.  Congressional hearings are held, CNN spends large chunks of airtime debating the issue, and lots of Bernie Sanders and Donald Trump voter-types go wacko in voicing and showing their opposing fervor on the subject of this “alien” who may be our salvation or our doom. That thought drives both Bruce Wayne and Lex Luthor (Jesse Eisenberg) to decide we’d be better off without him, and each begin making moves to act on that belief. Let the battle begin!

This movie is breakneck-paced from the opening titles to the closing credits. With a two-and-a-half hour running time, and so much material to cover, Snyder gives us a visual orgy of explosions and costumes and vehicles and heat-ray-emitting monsters that would make Michael Bay blush.  We bounce around disjointed events from around the globe, and the movie hopes we can keep up and string them all together in our minds to see the overall picture. We’re beaten over the head with Hans Zimmer’s score (credited along with something/someone called “Junkie XL,” whatever that is), and see enough CNN on-air personalities that we’re absolutely certain that Warner Bros. owns them, too.

On the other hand, the pace also prevented Snyder from wasting time retelling us things we of which probably didn’t need reminding. Wayne is driven to almost-psychosis over the mayhem and destruction he witnessed, and the movie conveys just enough to convince me of that and moves on.  As he did with Superman’s origin in Man of Steel, Snyder does not bog us down in the minutia of Batman’s beginnings, as he’s confident in our knowledge of the broader strokes of how Batman came to be.  Sure, he gives us two minutes of Bruce Wayne voicing over a dream/remembrance of his parents’ deaths early on, but that’s it, and it’s enough.

But is the movie good or bad? Well, The Good - the majority of the cast’s headliners do excellent work.  Henry Cavill has Superman down-pat now, and while his performance in Man of Steel was probably more personal and touching, that movie was meant to be more emotional than this one (an actor’s gotta do what he’s given to do, right?).  Affleck is fantastic as Bruce Wayne AND as Batman, instantly shaming all those haters who went wild upon his casting announcement two years ago.  Oh, he may get some ribbing for adopting the Christian Bale gravel-voice while wearing the cowl, but that’s actually explained as a plot point and shouldn’t be held against him.  As stated, Wonder Woman makes her debut, played by Israeli actress Gal Gadot, and if you don’t applaud when she appears in costume for the first time, then I don’t want to talk to you.  She doesn’t have much opportunity to take over any scenes, and given Godot’s previous work, that may be a good thing (I guess we’ll find out if she can REALLY act in next year’s Wonder Woman solo flick), but she sure as Hell LOOKS the part, and that’s enough for me so far.

Now The Bad - Chris Terrio and David Goyer’s screenplay doesn’t do Lois Lane (Amy Adams, also back for more) any favors, and Jesse Eisenberg was a horrible Lex Luthor.  Lois, while portrayed to be more independent and less bumbling that almost all previous incarnations of the character, is still basically a catalyst for rescue situations, and disappointing, given Adams’ talent.  The Luthor character is the movie’s biggest and most glaring disappointment, though, being played as something akin to Eisenberg’s portrayal of Mark Zuckerberg in The Social Network, but with Parkinson’s or something.  Every time he was on screen was like nails on a chalkboard to me, and while one is supposed to be somewhat turned off by a movie’s villain, Eisenberg’s performance turned me off in the wrong way.

The overabundance of characters and plot points, of course, serve as seeds that will someday bear fruit as spinoff films and a Justice League movie. Yes, the two minutes or so that teases the soon-to-be-members of the Justice League feels shoehorned into the narrative (and may literally have been, as rumors have it that the sequence was filmed many, many months after principal photography wrapped), but I understand the purpose the sequence serves, and it didn’t take me out of the movie.  A less geeky viewer may find his or her experience somewhat different.

The movie is far from perfect, but it’s far from a failure, too. I can understand how a more casual moviegoer would find the movie’s pace almost too frenetic to allow him to keep up with all these characters and their possible motives.  I can tell you with all-but-certainty that the half-hour of excised footage that Snyder and Warner Bros. have promised us for the three-hour R-rated Blu-ray release of the film is sorely missed.  Batman v Superman doesn’t make any pretense about being “Hamlet,” however - it’s a superhero movie.  It’s a flick about dudes (and dude-ettes) in brightly-colored spandex blowing stuff up and bashing the crap out of each other, and setting the table for more such movies to come. If that’s your cup of tea, as it is mine, then you may enjoy it as much as I did.

Christopher Nolan's "Interstellar" is both a feast for the eyes and food for thought

Barring the outbreak of World War Four or another round of some Black Plague-like pandemic that might thin out the human population a bit, the day when Mankind must address the question of depleting the Earth's resources will certainly come.  I personally think it will come much, much farther down the road than most of the more fervent Environmentalist-Wackos claim it will, but I agree that it will happen someday.  What Mankind will do as that day approaches is the central question of Christopher Nolan's Interstellar.  Would Mankind look outwards to the stars to find a new home, possibly sacrificing ourselves and the lives of everyone we know in order to prevent our extinction, or would we be unable to put aside our own individual lives in order for our unknown descendants to have lives of their own?  

As I am childless, I cannot make any claim of being able to relate to the dilemma faced by Interstellar's main character.  I would suppose the scenario of knowing you may never see your child again, but that child and his/her offspring may live full lives versus remaining with your child while knowing he/she will not live very long would be fairly obvious - of course, you want your child to have the longest, fullest life possible, even at the cost of your own life.  At the risk of sounding pessimistic, though, I personally don't have enough faith in the ability of Mankind as a whole to be selfless enough to choose Mankind's survival over the survival of one's own immediate family.  I happen to believe that individuals, given the opportunity, will choose a self-serving course of action over one for the "Greater Good" 99.99% of the time, give or take a percentage point or two.  While I leave the question of whether I am right or wrong in that belief for some other essay, some of the characters in Interstellar seem to share my grim assessment of people's priorities.  However, I do find Interstellar to be a very hopeful, positive outlook on how some people in particular, and Mankind in general, may face that problem when it arises. 

The film shows us a time in our near-future, perhaps later this century, perhaps a bit farther off than that, when Humanity has all but exhausted the soil of Mother Earth.  Crops are no longer yielding enough to keep us alive, and the depleted soil billows in clouds of dust that create a new Dust Bowl era - one that stretches a bit farther than the American Midwest this time around (perhaps we could call this the "Eco-pocalypse").  A family consisting of a former NASA pilot named Cooper (Matthew McConaughey), his fairly-grounded son, his head-in-the-clouds daughter named Murphy (as in Murphy's Law) and his father-in-law struggle to raise corn in the weak Texas soil.  An almost divine-appearing set of happenings and coincidences lead Cooper and Murphy to the hidden location of a now-underground NASA, as the space agency is now an off-the-record government agency.  In this future, the ignorant tax-paying masses demand their tax dollars be spent on needs more pressing to them than space exploration, but thankfully, a few more deeper-thinking folks still believe the subject to be important, so the work continues in secret.  

NASA is now conveniently headed by one of Cooper's former teachers, one Professor Brand, (played by Nolan's own little good-luck charm, Michael Caine), who fairly quickly convinces Cooper to pilot an exploratory mission into a conveniently-placed Einstein–Rosen bridge ("wormhole") near Saturn that leads to habitable planets in another galaxy, in order to find a new home for Mankind.  Leaving his family behind, Cooper, along with Brand's own physicist/astronaut daughter (Anne Hathaway), two other scientists and a couple of sarcastic robots, begins a decades-long mission into the wormhole.  By the end of the film, we see how all of those cosmic coincidences and lucky breaks fell into place, and how Mankind may ultimately play a part in its own salvation.

Much like Stanley Kubrick's masterpiece of science fiction/science prediction, 2001: A Space Odyssey, Interstellar is a story that begins with the question of what Mankind must do when we have reached a point in our evolution where we've gone as far as we can without becoming something else.  In the same vein as 2001, cosmic occurrences are placed in Mankind's path by unseen/unknown entities that act as motivators to drive Mankind to move forward when we seem to have lost the drive to do so on our own.  Unlike 2001, a fairly emotionally-sterile film by design, the notion of love as a force of nature, one that can affect not only decision-making, but actually play a part in natural occurrence, comes into play in this story.  More so than in any of his other previous films, Nolan uses the dynamic of family love as a driving factor, as we see how Cooper's relationship with both of his children suffer as they grow to adulthood without him, and how Professor Brand's own daughter believes her love for others might be a factor in the mission's direction.

Nolan and his screenwriter brother Jonathan share credit for the screenplay, and their script does a phenomenal job of balancing such things as explanations of quantum physics with emotional insight into the human beings explaining them.  Maintaining the emotional power of the story among the fantastic visual effects is also attributable to the performances of the cast delivering the soul of that script, some of whom make the most of limited screen time.  Casey Affleck and Jessica Chastain in particular, who portray the Cooper children in adulthood, both give powerful performances with their relatively little screen time, effectively conveying in different ways how abandoned they feel, and how their lives, along with the rest of Mankind, seem to be slowly spiraling to a halt as the Earth dies around them.  

Interstellar, much like Gravity from last year, uses its superb visual effects to emphasize the emotional impact of its story in a marvelous fashion.  I didn't find any of the effects sequences to be self-indulgent, and even more remarkable for a film with an almost-three hour running time, the effects never seem to overwhelm the movie's message.  The sound design in particular was Oscar-worthy, in my humble layman's opinion - the silence of space, then the abrupt thunder of ill-happenings when atmosphere is introduced, laid out in the 360-degree realm that is zero-gravity was fantastic.  The sound mix, however, had a few hiccups, as a few lines of dialogue were overwhelmed by the effects around the character speaking, but I suppose that could have been a case of McConaughey mumbling much like he does in those Lincoln commercials...

I have a list of filmmakers in my mind, composed of directors whose work will get me to buy a ticket, no matter what it is, and Christopher Nolan's name is on that list.  Much like he did with Inception, Nolan has created something that accomplishes a task that is much easier said than done - a movie that both greatly entertains me and forces me to spend several hours afterwards thinking very deeply about a subject. If there is anyone making films these days who can legitimately claim to be the heir-apparent to Stanley Kubrick, it is Nolan, and I do not say that solely because Interstellar may very well be this generation's 2001.  It is not the equal of that film, but it is certainly worthy of being included in any conversation along with it, and it is definitely one of the best films of this year.