Review: The Accountant (dir. by Gavin O’Connor)


“What I do is not against the law. What I don’t do… is.” — Christian Wolff

The Accountant is a 2016 action thriller that mixes elements of character drama, crime mystery, and family dynamics into a unique storyline. The movie follows Christian Wolff, a man with autism and exceptional math and accounting skills, who works as a freelance accountant for criminal organizations. Raised by a strict military father who pushed him to develop precision and discipline, Christian has a rigid moral code that guides his actions. As Christian unravels financial fraud within a robotics company, he finds himself hunted by a Treasury agent. The film blends intellectual mystery with high-stakes action, presenting a different take on the typical thriller formula.

Ben Affleck leads as Christian Wolff, bringing a quiet intensity that captures the character’s inner complexities and unique worldview. Anna Kendrick plays Dana Cummings, the robotics company accountant whose discovery of financial irregularities kicks off the central conflict, offering a relatable and warm counterpoint. J.K. Simmons portrays Raymond King, the sharp Treasury agent on Christian’s trail, adding layers of tension and moral ambiguity. Jon Bernthal embodies Braxton Wolff, Christian’s estranged brother and a rugged former military operative, whose presence heightens the family drama. The brothers’ strict and demanding father is portrayed by Rob Treveiler, who appears mainly in flashbacks that showcase the rigorous military-style training and discipline shaping Christian’s development. These performances ground the film’s ambitious mix of genres, making the characters feel lived-in and believable.

Christian Wolff stands out as a well-rounded character whose autism shapes his personality without becoming a mere plot device. The film shows his struggles alongside his strengths, like sensory sensitivities, social awkwardness, and laser focus on details. He relies on strict routines and coping tools to handle his surroundings, mirroring real experiences on the autism spectrum. Affleck’s portrayal draws from this backstory—those intense father-son training montages with Treveiler—to explain Christian’s discipline and guarded emotions, giving audiences a clear window into what drives him.

At the movie’s core sits Christian’s personal moral compass. He might balance the books for shady clients, but he draws a hard line at true ethical breaches, stepping in with his own form of justice. This anti-hero vibe keeps things gray and intriguing. His bond with Dana, played by Kendrick, offers rare moments of connection amid the chaos, though it stays somewhat surface-level and misses chances for deeper emotional pull.

The plot tracks Christian’s dive into massive fraud at the robotics firm, all while dodging Simmons’ relentless agent. The accounting scenes impress with their detail—Christian pores over ledgers, spotting irregularities that expose embezzlement on a grand scale. This cerebral side contrasts sharply with the brutal action, like the raw fights between Affleck’s Christian and Bernthal’s Braxton, which mix physical showdowns with buried family pain. Those brotherly clashes tie back to their shared traumatic past, ramping up the stakes beyond just numbers and guns.

The Accountant handles autism with real care, steering clear of clichés. It spotlights Christian’s sensitivities, routine needs, and social hurdles while celebrating his smarts and toughness. Affleck makes these traits feel authentic, turning what could be quirky into profoundly human. This approach avoids stereotypes, letting viewers connect with Christian on a deeper level and appreciate how his mind works in high-pressure situations.

The film has room for refinement in a few spots. It crams in crime plots, sibling secrets, and shadowy ops, which can jumble the pace as it bounces from fights to feels to financial deep dives. Relationships like Christian and Dana’s, or the Wolff brothers’, might hit harder with extra screen time to build that emotional core and make the risks feel more intimate.

Tonally, The Accountant strikes a balance—serious stakes lightened by Christian’s offbeat interactions and fresh outlook. Autism never turns into a joke; instead, it builds empathy. The ethical murk in his world—cooking books for crooks one day, punishing them the next—flips hero tropes on their head, keeping you guessing.

Overall, The Accountant shines by fusing brainpower and brawn in its lead and narrative, transcending standard shoot-’em-ups as a thoughtful character piece that honors its hero’s nuances. It probes unconventional strengths and ethics in a murky reality while illustrating thriving with distinct abilities and hurdles in a harsh landscape, all while clinging to personal principles—delivering thrills with substance on neurodiversity and payback. Fans of smart action will dig this blend of suspense, puzzles, and character depth, even if the threads tangle at times, making it a solid pick for thriller seekers wanting more than explosions.

#MondayMuggers presents THE ACCOUNTANT (2016) starring Ben Affleck!


Every Monday night at 9:00 Central Time, my wife Sierra and I host a “Live Movie Tweet” event on X using the hashtag #MondayMuggers. We rotate movie picks each week, and our tastes are quite different. Tonight, Monday April 21st, we celebrate the end of my tax season by watching THE ACCOUNTANT (2016) starring Ben Affleck, Anna Kendrick, J.K. Simmons, Jon Bernthal, Jeffrey Tambor, Cynthia Addai-Robinson, John Lithgow, and Jean Smart. 

Contrary to popular belief, THE ACCOUNTANT is not based on the life of Little Rock-based CPA Bradley Crain, although there are many obvious similarities. Rather, it’s the story of Christian Wolff, a math savant who often plies his trade for some of the world’s most dangerous criminal organizations. When he takes on a legitimate client and discovers discrepancies in the company’s books involving millions of dollars, a group of hitmen try to kill him and the company’s accountant Dana Cummings (Anna Kendrick). Will they live long enough to discover the person behind the embezzlement, or will they just become another set of death statistics? I don’t want to give too much away, but I will go ahead and address the elephant in the room… THE ACCOUNTANT 2 opens on Friday night, April 25th.

So, join us tonight for #MondayMuggers and watch THE ACCOUNTANT! It’s on Amazon Prime. The trailer for THE ACCOUNTANT is included below:

Trailer: The Accountant 2


The Accountant, released in 2016, was an action-thriller that came out of nowhere and surprised a lot of people. The film had come out a two years since the release of John Wick and it would help usher in what I consider a new age of Western action films.

There was instant talk of a sequel after the success of the first film, but with Ben Affleck busy doing his Batman and Justice League bit over at DC Films the sequel had been put on the back-burner. Well, with the crash and burn of the DCEU it looked like Affleck had some time on his hands now and this meant the sequel to The Accountant was back to cooking.

On April 25, 2025, we will see just what Gavin O’Connor, Ben Affleck and Jon Bernthal have cooked up as a follow-up to the first film with The Accountant 2.

Playing Catch-Up: The Accountant, Carnage Park, The Choice, The Legend of Tarzan


Continuing my look back at the films of 2016, here are four mini-reviews of some films that really didn’t make enough of an impression to demand a full review.

http://www.youtube.com/watch?v=wmKtb-Pvpf4

The Accountant (dir by Gavin O’Connor)

2016 was a mixed year for Ben Affleck.  Batman v. Superman may have been a box office success but it was also such a critical disaster that it may have done more harm to Affleck’s legacy than good.  If nothing else, Affleck will spend the rest of his life being subjected to jokes about Martha.  While Ben’s younger brother has become an Oscar front runner as a result of his performance in Manchester By The Sea, Ben’s latest Oscar effort, Live By Night, has been released to critical scorn and audience indifference.

At the same time, Ben Affleck also gave perhaps his best performance ever in The Accountant.  Affleck plays an autistic accountant who exclusively works for criminals and who has been raised to be an expert in all forms of self-defense.  The film’s plot is overly complicated and director Gavin O’Connor struggles to maintain a consistent tone but Affleck gives a really great performance and Anna Kendrick reminds audiences that she’s capable of more than just starring in the Pitch Perfect franchise.

http://www.youtube.com/watch?v=6iVQLAGKPPE

Carnage Park (dir by Mickey Keating)

I really wanted to like Carnage Park, because it was specifically advertised as being an homage to the grindhouse films of the 1970s and y’all know how much I love those!  Ashley Bell plays a woman who gets kidnapped twice, once by two bank robbers and then by a psycho named Wyatt (Pat Healy).  Healy chases Bell through the desert, hunting her Most Dangerous Game-style.  There are some intense scenes and both Bell and Healy are well-cast but, ultimately, it’s just kind of blah.

http://www.youtube.com/watch?v=EmdHVSKhxhM

The Choice (dir by Ross Katz)

The Choice was last year’s Nicholas Sparks adaptation.  It came out, as all Nichols Sparks adaptations do, just in time for Valentine’s Day and it got reviews that were so negative that a lot of people will never admit that they actually saw it.  Benjamin Walker and Teresa Palmer play two people who meet, fall in love, and marry in North Carolina.  But then Palmer is in a car accident, ends up in a coma, and Walker has to decide whether or not to turn off the life support.

As I said, The Choice got terrible reviews and it’s certainly not subtle movie but it’s actually better than a lot of films adapted from the work of Nicholas Sparks.  Walker and Palmer are a likable couple and, at the very least, The Choice deserves some credit for having the courage not to embrace the currently trendy cause of euthanasia.  That alone makes The Choice better than Me Before You.

The Legend of Tarzan (dir by David Yates)

Alexander Skarsgard looks good without his shirt on and Samuel L. Jackson is always a fun to watch and that’s really all that matters as far as The Legend of Tarzan is concerned.  It’s an enjoyable enough adventure film but you won’t remember much about it afterward.  Christoph Waltz is a good actor but he’s played so many villains that it’s hard to get excited over it anymore.