The Accountant 2 Can Not Be Taken Seriously

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Titling Option 1: The Accountant 2: Double Entry

Rationale: This title subtly hints at the numerical and accounting themes that are central to the storyline, while also suggesting a deeper level of complexity or intricacy in the plot, as ‘double entry’ is a common accounting term. Additionally, the use of numbers (2) emphasizes that this is a sequel.

Titling Option 2: The Accountant 2: Tax Tangle

Rationale: This title clearly indicates the focus on tax-related topics and adds a sense of mystery or entanglement, hinting at the potential plot twists and complications in the story. Furthermore, it maintains the sequel number (2) for consistency.

Both options aim to convey that the movies are not intended to be taken too seriously while still highlighting their unique themes and elements.

In a humorous twist, it’s worth noting that the autistic community should receive equal representation in intense action movies just like everyone else. However, much like previous Hollywood productions, The Accountant 2 still portrays autism in a stereotypical manner, focusing mainly on savantism and viewing it as a deficiency that needs to be compensated by extraordinary abilities. The protagonist, Chris, is an exceptional forensic accountant who can analyze weeks of complex financial data in one night, and he spots patterns that others have missed. His nonverbal assistant, Justine (previously voiced by Alison Wright, now played by Allison Robertson), possesses remarkable hacking skills. In the sequel, she heads a group of equally gifted young individuals at her institute for neurodivergent people, which increasingly resembles Xavier’s School for Gifted Youngsters. A kidnapped child whom Chris believes to be his fellow traveler, based solely on a photo, demonstrates an unusual talent for calculating distances. Interestingly, The Accountant 2, penned by returning screenwriter Bill Dubuque, also features an unusual subplot about a woman who isn’t autistic but developed a lack of fear and combat skills due to a brain injury.

As a movie enthusiast, I’d rephrase it like this: In “The Accountant 2”, my character, Chris, reunites with his long-lost brother Braxton (portrayed by Jon Bernthal). Their relationship was intriguingly developed in the first film, but here, Braxton comes into play early on after Raymond King, played by J.K. Simmons, meets an untimely end in the opening scene. Braxton, a globetrotting assassin-for-hire, provides an engaging contrast to Chris – a carefree, unfiltered mercenary who enjoys luxury items and physical fights, yet shares with his brother a life that lacks genuine connections. The original “Accountant” was essentially a gritty remix of the emotional male saga depicted in O’Connor’s 2011 masterpiece “Warrior”, and this sequel shines brightest when Chris and Braxton are together, exchanging barbs, forming bonds, and addressing long-standing grievances and misunderstandings. Bernthal, with his rugged features and raw emotions, delivers a playful performance as Braxton, and his brash portrayal complements some of the more debatable choices made by Affleck.

The latest film delves into humor in a manner that leans towards adorable – such as scenes of Chris at speed dating events or line dancing nights – yet the depictions of the brothers together are commendable, offering insights into their co-dependent past before they evolved into men scarred by trauma, who frequently engage in violent acts. Regarding this, the final action scene is a letdown, filled with gunfire in the outskirts of Juarez, but earlier sequences are more effective. These scenes highlight the contrast between Braxton’s bloodthirsty tendencies and Chris’s clinical approach (one of Affleck’s strongest performances lies in conveying his character’s genuine excitement for tax law, as well as his emotionless demeanor during violent acts like dislocating someone’s shoulder or shooting multiple times). Unfortunately, the storyline about a human trafficking operation is presented in a chaotic manner, making it hard to follow, and Cynthia Addai-Robinson reappears in the unenviable role of Marybeth Medina, Raymond’s strict subordinate. She spends her time scolding and admonishing the brothers while simultaneously relying on their assistance and using them to bend rules.

In essence, the bond between Braxton and Chris is something remarkable – a blend of their contrasting traits, yet also a shared understanding that their upbringings were flawed, albeit shaping them into who they are today. This dynamic showcases O’Connor’s skill not only in portraying complex masculine dynamics but also inexpressive masculine introspection. Fingers crossed he continues to excel in this area in The Accountant 3: (Emotional) Withholding, whenever that may be produced.

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2025-03-10 00:54