Review of Accountant 2

Accountant 2 is currently available for streaming on Amazon Prime. It’s filled with math-related humor, especially centered around tax season and spreadsheets. This could be a comfortable space for expressing opinions on both this film and its predecessor, 2016’s Accountant, which many might consider quite silly. The first installment gained popularity, largely due to the Ben Affleck meme, becoming a modest success as it gained traction through repeated airings on cable, streaming platforms, and the internet. It seemed to take a while for Accountant to reach a point of “relevance.” Meanwhile, Affleck took a break for nine years before reprising his role as an autistic man living in an Airstream trailer, juggling accounting and a dangerous side job. Just in case you weren’t aware, that’s quite the mix.

What’s instantly noticeable is the tonal shift between the two movies. Accountant felt somewhat spontaneous, while Accountant 2 appears to miss that mark. It’s almost like they’re trying too hard to be interesting. This sequel kicks off with a scene that has less to do with action than you might expect—no wild bar shootouts this time. Instead, we find JK Simmons’ character embroiled in a tense confrontation linked to crime. Before his character meets his end, he scribbles something important that leads to the accountant.

This brings us to Marybeth Medina (Cynthia Addai Robinson), tasked with tracking down this accountant. Surprisingly, she finds him at a speed dating event in Boise, where women eagerly await to meet this well-groomed version of Affleck. “Don’t worry, you won’t need to revise your tax returns for unclaimed thanks,” is his awkward pickup line that leaves potential dates looking disappointed. Christian Wolf, who has a talent for numbers and an affinity for firearms, also struggles in social situations due to his autism. He’s an informant with ties to the criminal world but now seems to just be waiting for things to happen. When Marybeth reaches out to him, she’s asking for help to sort through everything Simmons had compiled on the criminals he was tracking—those intricate “crime walls” that visualize a character’s obsession.

Christian, in his worst pleated khakis and some horrid sneakers, realizes he needs assistance and decides to call his younger brother Braxton (John Bernthal). There’s some intense emotion involved, whether it’s dealing with unsavory characters at a bar or tackling serious issues like human trafficking. It’s revealed that his brother is tied to a group of autistic kids at a vocational school, where they work in tech fields and even aid in some dark dealings.

It’s almost reminiscent of films that blend themes like Rain Man and more recent stories of social issues. The mix feels a bit like a mashup we didn’t know we needed.

Now, looking at Bernthal, it seems we’ve been on the brink of a “Berntunasissance” for nearly a decade. His performance manages to carry some delightful goofiness while still bringing a sense of seriousness to his role. The narrative also has this odd mix of frustration, with the autistic child hacker’s computer-generated voice highlighting a deeper sense of discontent.

There’s not much in terms of romantic or intimate scenes, which is an interesting choice.

Now for the big question: Do audiences find themselves enjoying the chaotic blend of action and commentary on pressing issues? Perhaps it’s hard to pinpoint. Do we laugh, or do we critique? This could lead to a moral dilemma: are these moments of humor fun, or do they cross into insensitivity? It’s a complicated scenario. I’d say good luck navigating that!

Ultimately, you’re left pondering whether Affleck embodies an inclusive hero or a problematic stereotype for those with autism. It’s a discussion that could go either way, and many arguments in favor of both perspectives exist. Director Gavin O’Connor shifts the mood from poker to clownish antics, and it’s not the only change we notice—the sequel dives deeper into Christian’s complexity, marked by his obsession with details and his brother’s more easygoing nature.

Then there’s the plot. Its cluttered and almost convoluted style feels reminiscent of something you’d expect from a Mission: Impossible film. Somehow, the story loses significance in favor of spectacle. It feels like the audience is being asked to embrace chaos and just ride the wave without questioning how the dots connect. To be frank, I found it a bit exhausting.

In short, it’s a confusing jumble. Maybe it’s best to just skip it.