The Accountant

Who is The Accountant? He’s an untrained yet highly effective Jason Bourne with autism (or an autistic if you ask someone in the anti-cure camp). Unfortunately, he is a less smartly-written character in a less exciting setting, and a completely stereotypical portrayal of someone with the neurological difference with quite a few blatant irregularities.

“The Accountant” is more of an autism awareness public service announcement and a commendable advertisement for the obvious joy that comes with an exciting career in accounting than it is a thriller, or a real action film. You see, the film lacks real teeth because it gets too bogged down trying to be clever and different. The attempt at character depth overshadows what could be a pretty fun shoot-em-up, or a terse thriller. It inevitably fails quite noticeably at both.

A predictable twist that is as improbable as it is lackluster leading to an ending that will leave you shaking your head, as well as a character shift that is beyond unlikely, convolutes the tone and complicates the message the film makers are trying to send. Is this a character study? A romance? A cautionary tale or a story of redemption? Maybe. Maybe not, and it really doesn’t matter.

Ben Affleck plays Christian Wolff, one of many aliases he smoothly and deftly dons throughout the painful 130 minutes. He is an accountant for criminals, uncooking the books and vanishing with his payment, no questions asked. His constantly mentioned autism portrays him as a savant, trained by his harsh and demanding father to ignore his challenges, leading him to become a stone cold emotionless professional. A bit too cool, a bit too reflexive, and a bit too James Bond for his own good.

Surrounding Affleck is a stellar supporting cast of J.K. Simmons, Anna Kendrick, and Jon Bernthal. All expert actors, Bernthal shines in his first scene, Simmons in his last, and Kendrick doesn’t really have a place in the film at all. I worry that her turn in “Up in the Air” may turn out to be the only critical acclaim of her career, as recent roles have been either trifling or ill-advised. At least she is young, rich, and clearly having fun. Case in point, “Pitch Perfect 3”.

Director Gavin O’Connor (“Miracle”, “Warrior”) had great intentions but just had a terrible script to work with. He manages to make Affleck once again look like a true blue action star, and some of the fight sequences are remarkable. It is however difficult to Ben in front of the camera so soon after “Batman vs Superman” and his public, messy divorce. His upcoming “Live by Night” might be the redemption he needs, a la “Argo” before putting his cowl back on for no fewer than three more Batman flicks. His dirty love affair with Warner Bros. knows no shame.

Writer Bill Dubuque (the abysmally disappointing “The Judge”) does himself no favors by allowing the blatant attempt to capitalize on autism to unfold so organically. Being in the education field, it nearly made me uncomfortable to see inconsistencies that eliminated any sense of respect or reverence for the disorder.

“The Accountant” could have actually been very good. Had the twist been molded a little more expertly and the main character been a little less suave and a little more, I don’t know, accountant? It could have been thrilling and sharp. Better luck next time, Ben. 5/10.

Middle School: The Worst Years of My Life

Based on the book series of the same name, “Middle School: The Worst Years of My Life” follows the travails of Rafe Katchadorian, an artistic introvert who may or may not be the pre-teen autobiographical incarnation of author James Patterson (Maximum Ride, Alex Cross series).

Rafe (Griffin Gluck) is an average kid dealing with average issues; pesky little sister, starting new school mid-year, divorced parents. There isn’t anything particular special about his life except for his imagination and maturity. His drawings come to life a la “One Crazy Summer” circa 1986, but instead of serving as a distraction to express the inner dialogue through crude and cheap trickery, it actually moves the story along nicely as it is a welcome addition to the live action film.

As Rafe enrolls at a new, prestigious middle school because of numerous, untold expulsions, the evil principal Dwight (Andy Daly) cracks the whip and tries to prepare the student body for the BLAAR test (Baseline Assessment of Academic Readiness) in what is a nice riff on the absurd climate of high stakes testing in education. Noticing the ubiquitous oppression and conformity, Rafe decides that rules aren’t for everyone, and he pushes back against the system in traditional heroic fashion.

Director Steve Carr (“Paul Blart: Mall Cop”) creates a nicely balanced caricature of school that is humorous without appearing condescending. There are character archetypes present, but he manages to enrich the story through the quick pace and sharp animation, and adds some refreshingly deep themes to what is on the surface simply a kids’ movie.

Lauren Graham (“Gilmour Girls”, “Parenthood”) stands out as Rafe’s mom, the lone adult who isn’t playing a tightly prescribed role. It’s authentic and emotional, but most of what she does is. Beside her, there is the duplicitous boyfriend and very effective comic relief (Rob Riggle) in an over-blown stereotype of a self-absorbed egotist. The goofy, cool, down-to-Earth teacher (Adam Pally), the wise yet bitter custodian (Efren Ramirez), and the authoritative assistant principal (Retta). None is overwhelming, and in fact, Principal Dwight is perhaps the character that is a bit overdone, and taints what is otherwise a surprisingly well-done film.

The genre of kids’ comedy is rife with duds over the years, and most aren’t even memorable enough to mention here. There are countless attempts to tell the same story; fish out of water who redeems him/herself, learns lessons in the process, and makes friends. “Middle School” is a bit of an exception to this typical story arc. Although typical in nearly every way, there is something starkly different than other films you’ve seen before. There is a depth and execution that usually falls apart when the film enters the third act. The twist adds a bit of an emotional charge, and there isn’t any lingering about in any of the areas during the wrap-up.

I give credit to Carr for this as he assembled a great cast of characters and presented middle school in a way that gives subtle homage to familiar stories while preserving the integrity and pacing of something different and new. I haven’t read the source material, but I have spent a lot of time in middle schools (teacher, not as a failing student). The film isn’t realistic by any stretch of the imagination, but it surpasses most in terms of its charm and upbeat ultimate message.

Rules aren’t for everyone, but this film is. I would recommend this to the masses as a breath of fresh air in what is certainly a down season for film. I haven’t seen a truly impressive film in months, and although this wasn’t what I would call impressive, I was pleasantly surprised. 8/10.

The Magnificent Seven

The story was created decades ago, but it never gets old. From Akira Kurosawa’s “Seven Samurai” in 1954, remade as “The Magnificent Seven” in 1960, we now get a twenty-first century look at good, old fashioned cowboy vigilante justice. But not really. The imagination doesn’t stray far from the Yul Bryner version, complete with a multicultural motley crew, and a helpless town who rely on seven strangers to protect them from the evil violence of capitalism disguised as progress.

Starting off by painting an idyllic picture of a prairie town, we are abruptly shaken by the dynamite explosions and chaos of a brutal gold mining operation. Bartholomew Bogue (Peter Sarsgaard) is an entrepreneurial tycoon who decimates town after town by lowballing the citizens, eventually driving them out through coercion. He is borderline sociopathic, and remorseless in his death dealing if it stands in the way of his financial goals.

Denzel Washington is the man in black as Chisolm, a bounty hunter who stumbles upon the hapless town, and begins to round up his gun slinging compatriots in an act that is simply revenge justified as righteousness. He is typical cool, smooth Washington, but didn’t show enough emotion to create a memorable character.

Homegrown product Chris Pratt (Lake Stevens) manages to easily upstage Washington at every turn, which is no easy feat. He plays the comic relief as the gambler, lothario, and easy-shooting cowboy, Josh Faraday. He is likeable and doesn’t seem to need to act aside from his broken southern accent. He exudes coolness, and although his star has been on the rise for some time, this performance certainly doesn’t hurt.

Hayley Bennett (the upcoming “The Girl on the Train”) is Emma Cullen, the hardened and scorned woman who manages to round up the men, and never quite emerges from the background to present a character of any depth. She’s a Jennifer Lawrence doppleganger and dresses a bit too risqué for the time and place, and the men are perfect gentlemen of course. I get the reason, there needs to be a damsel in distress, and when there’s an opportunity for a corset, I suppose you have to take advantage.

Director Antoine Fuqua presents a disappointingly vanilla take on the genre. Although he conjures the spirit of Sam Peckinpah in what is more “The Wild Bunch” than “Seven Samurai”, the characters are drawn up with a bland sense of anonymity and the bonds created among the seven gunslingers is shallow and unsubstantiated. Even the inevitable connection at the end between Chisolm and Bogue is weak and trite. The archetypes are stereotypical (Asian martial artist, Mexican outlaw, Indian savage) and their willingness to join each other happens far too quickly and easily. There is little explanation for why all seven are willing to selflessly die for civilians and one another. It’s also a bit confusing how they are able to coalesce so quickly and seamlessly, as if they were a special forces unit.

I do feel that it could have used a change of venue as opposed to rehashing or retelling the Old West story. “Training Day” was a gritty and outstanding look at urban police warfare, and Fuqua hit the mark with his vision and realism. In today’s climate of rampant gun violence, a different setting would have been a welcome breath of fresh air and could have been really quite effective and clever, but I get paid to critique, not write screenplays.

Alas, for a western, “The Magnificent Seven” is an action-packed thrill ride that will definitely satisfy the romantic longing for the simple times. Lots of revolvers, horses, saloons, chaps, and hats. Pratt, and to some degree, Manuel Garcia-Rulfo, who plays the Mexican outlaw, Vasquez, evoke an exciting and inspiring aura. The rest tend to simply go through the motions, particularly Ethan Hawke, who overacts and is startlingly haggard as Goodnight Robicheaux, the war hero with an inner-demon, and Vincent D’Onofrio, who is the tracker, Jack Horne.

If you are in the market for some good old-fashioned lead-slinging fun, and don’t want to overthink things, this will certainly suffice while you wait for the higher quality fare of the fall. Fuqua pulls out all the stops with his action sequences and it’s worth it for Pratt alone. 7/10.

Sully

On January 15, 2009, Captain Chesley "Sully" Sullenberger landed a commercial airliner on the Hudson River in New York City, and all 155 people on board survived. Dubbed "The Miracle on the Hudson", it was a remarkable feat that bore eerie similarities to another New York plane crash a few years prior, but had a decidedly more pleasant outcome.

Tom Hanks (Sully) and Clint Eastwood collaborate for the first time, and it's a match made in heaven. The story is incredible, and the tone of a New York miracle adds some magic that wouldn't have quite the same effect if it were anywhere else in the world. As one supporting player says, "It's been a long time since this city has had a good news story... especially one involving an airplane".

Hanks carries the film on his shoulders with an aged look; white hair and mustache, and an intentional maturity that absolutely captures the real man behind the story. He has a calm, almost banal demeanor. He isn't a flashy man by any means, and is reluctant to smile or boast about his brilliant display of piloting and heroism that saved hundreds of lives. He's a humble man who is caught up in his own guilt, wondering if he made the right decision because it certainly could have ended differently very easily. Aircraft water landings are historically tragic, and as he was over the Hudson, there were other options for attempts at airport landings that he refused in the heat of the moment. 208 seconds. 3 minutes and 18 seconds from birds destroying his engines to safely landing on a river in the middle of one of the most densely populated cities in the world. It's a heavy decision, and even though everything turned out alright, it's the type of situation he must still be going over in his mind. Sully, not Hanks, to be clear. It's difficult to imagine that Tom Hanks hasn't been nominated for a Best Actor Oscar since 2001's "Castaway". He has had six films according to my count that either could have or should have led to a nomination, if not a win ("Captain Phillips" should have been his third win for the final scene alone, to not be nominated was a travesty). "Sully" will likely be his sixth nomination, but the performance might not be quite enough to capture a win. The character is a bit to bland.

Eastwood once again creates a conflicted sense of brilliance or mediocrity in my mind. The sequences of the airplane in flight and event itself are outstanding. Seeing the plane gliding through the skyline of the city with flaming engines is beautiful and frightening simultaneously, but the supporting cast and dialogue exude typical Eastwood. In an attempt at emotional appeal, supporting characters come off as wooden and disingenuous. He again creates his own musical score, but this time, it just doesn't seem to fit with the theme. I would have preferred something subtle and moody. Something inspiring yet tense. Maybe I'm being too picky. I admire what Eastwood attempted, but aside from the obvious, I wasn't impressed.

The film is heavy on the theme of heroism, but with any story with a strong protagonist, there has to be an antagonist, and this is where Eastwood might play a little fast and loose with the facts. An airplane can't take on that role, nor can a flock of helpless birds, so the burden falls on the investigators from the National Transportation Safety Board. They criticize Sully's actions and put him under a microscope in the inevitable investigation that follows the incident, but it truly feels like a witch hunt and a commentary on what's wrong with post-disaster criticism. It diverted attention from the amazing human interest story; New York City still recovering from 9/11, the ferry crews, first responders, flight crew, and even passengers who contributed to an improbable survival story. The captain and co-captain who did all the right things in spite of impossible odds. Instead, Eastwood chose to vilify the agency in hopes of amplifying the greatness of the story. I didn't like it. Of course, it wouldn't have been much of a film without some conflict, but maybe it isn't the type of story that should have been a feature length movie in the first place.

I suppose I can't knock Eastwood too much, as the event itself was a mere 208 seconds. It is captured from multiple perspectives, and replayed at least twice, including some nightmares of what might have been, which adds to the drama of the story and is harrowing in its own right. I just feel like the event was stretched out a bit too long. This is a fantastic story and a heroic character study, but it simply didn't have enough meat to keep my interest until the predictable, and vindicating end. That said, Hanks has rarely been better. As he enters his sixties, the youthful Hanks of old is a fading memory, but we have the elderly Hanks to look forward to in the coming years. Don't be surprised if he is the next man to win a third Best Actor Oscar within the next decade. "Sully" soars, but can only glide for so long without engines. 7/10.

Don't Breathe

There come moments in life when you are forced to make an important choice. Like should I rob the blind war veteran’s house while he is home? The answer to that is usually going to be a firm no. “Don’t Breathe” follows three young hoodlums who pick the wrong victim in their attempt to get rich quick. Living in economic squalor, the film makers chose a dying neighborhood in Detroit as the setting, and it definitely helps to set the mood of isolation.

As a fan of vigilante justice, I was giddy after hearing about the premise of this film. Yes! Victim’s revenge is gratifying when you hate home invasions as much as I do. I would have to classify this as more of a thriller than a horror movie though; the distinction being that horror generally would be somewhat (or entirely) implausible. Thrillers are sometimes more frightening than horror because you could see yourself in the situation, but most films in the genre fall apart when they try to fabricate tension and delve into the realm of unlikely. “Don’t Breathe” toes that line nicely for most of the movie. It falls over the line during the third act, and a plot twist destroys credibility, losing the beautiful momentum it had slowly built to that point.

What works very well is that through the first two acts, Stephen Lang’s (“Avatar”) blind man is larger than life. He consumes all of the attention in any scene he is in. He is an elderly man, physically imposing, and plays visually impaired and helpless extremely well. His brief back story is not overly elaborate, but satisfactory in placing him in the mix. But what he excels at is that his character changes right before our eyes over the course of the ninety minutes, and I only wish he was given more lines, his low, gravelly voice is haunting.

The three criminals (Jane Levy, Dylan Minnette, and Daniel Zovatto) have bland personalities and back stories, and their archetypes are so typical that it’s a bit embarrassing. What is supposed to be a scare-fest loses some of its crucial emotional appeal by portraying just about everyone in an unflattering light. What I just couldn’t get on board with was figuring out who to root for. Do I root for the criminals, or the victim? Depraved all around, I just didn’t feel the visceral connection to any of the characters, which severely diminished the return on my anticipation. I suppose that as the film progresses there is supposed to be a shift in allegiance, but I found myself a vacant bystander.

Written and directed by Fede Alvarez (2013’s “Evil Dead”), what it lacks in creativity, it makes up for in execution. Creaking floorboards, little or no music, lots of great jump-worthy moments, and utter simplicity are the foundations of any good thriller. Although it goes a bit off the rails near the end, probably aiming for that epic climax, I was impressed at the camera work and way that Alvarez induced a sense of claustrophobia in the cramped house.

What failed to impress me was the use of a Rottweiler in an attempt to close loops and stretch the chase. It is sloppy writing, and come on, who is actually scared of dogs? Just smack it on the nose and scratch its belly. At the conclusion of “Don’t Breathe”, I did find myself a bit sore from being tensed up for over an hour, so that’s a sign of captivating entertainment. Kudos to Alvarez and Lang for that. If you can handle a bit of moral ambiguity and are a fan of thrillers, you might get a thrill out of “Don’t Breathe”, but if not, don’t bother. I was really hoping for better. 5/10.

War Dogs

Jonah Hill and Miles Teller are both pretty hot property right now in Hollywood. Teller was snubbed for an Oscar nomination for 2014’s “Whiplash”, and Hill has shined in “Moneyball” and “Wolf of Wall Street”. A noticeably obese Hill is showing his range once again as Ephraim Diveroli, a loud, crass American who is equal parts stupid, brilliant, and ambitious. Miles Teller is David Packouz, a floundering kid who just wants to be successful enough to raise a family and feel respected. Together, they exude a juvenile, yet tenuous friendship and stumble into a gray area of success more than they earn it. They are hustling their way to the American dream, according to the film’s tagline.

The improbable true story of two twenty-something friends who earned untold millions through lucrative US military arms contracts in the wake of the second Gulf War is presented in a very fresh, hip way. Like last year’s “The Big Short”, the absurdity of the premise brings out the natural humor in the situation and everyone involved capitalizes to ramp up the energy and action until you are earnestly wondering how is it going to end? For a film that is really a gonzo buddy action comedy biopic, it has a surprising amount of tension.

The dramatic story would be ruthless if wasn’t funny. The two lead characters do a fantastic job of showing wide-eyed inexperience. It’s almost as if a couple of kids find themselves at the adult table at Thanksgiving. They don’t quite know what to do, but they are happy to be there, and are relishing the respect that comes with the opportunity.

Bradley Cooper injects some seriousness into what could easily go off the rails as a true comedy as the notorious arms dealer and public enemy Henry Girard, a role that he seems to be enjoying despite his lack of any noticeable expression.

Director Todd Phillips, who struck gold with his Hangover trilogy, shows promise for more than just raunchy comedy franchises. He’s evolving into something a bit more dramatic, and for that I admire his choice of project. He allowed just the right amount of comedy to endure the political, possibly anti-American message, sort of an exploitation of government procurement process. Much the way “The Big Short” dealt with the banking crisis with humor, “War Dogs” is a sharp and complete movie because of the soft edges.

Something that many films of this nature do well is using familiar classic rock songs, often with oddly relevant lyrics (Blue Oyster Cult’s Don’t Fear the Reaper being played in a retirement home). This is notably a Richard Linklater or Cameron Crowe move, but Todd Phillips nails the music. It really adds another level of fun to this movie.

The equalizer for me, regardless of genre of film is if it makes me really want to know how it ends. I hadn’t heard much about the story prior to screening, and although the previews definitely give a good impression of what to expect, I found myself really needing to find resolution as it was building to a climax. Beyond that, I thought Todd Phillips ended it very well; on a high note, a very satisfying conclusion.

One thing that might turn off some viewers is just how immature and brash Jonah Hill’s character is portrayed. The term ugly American comes to mind, and although it’s a compliment to his craft, it is a bit despicable on screen and leaves a bitter taste throughout.

With a slim variety of enjoyable films in wide release right now, I would definitely recommend checking “War Dogs” out. Especially if you’re looking for a cool place to get out of these hot summer afternoons. 8/10.