Accountant review 2 ': Ben Affleck Crunches Numbers, Casks

“The accountant 2” subtracts everything that worked on the Original 2016A wonderful game that featured Ben Affleck as Christian Wolff, a Neurodivergent geek who freelancers as an auditor and assassin. Of all the thrillers of action on the killers with a very particular set of side jostles, “The accountant” was intelligent Unlike stupid or simply stupid pleasure, as with this lead suite, in which Chris' macabre efforts to extinguish a human trafficking ring are dull than watching him talk about taxes.

Return Gavin O'Connor And the screenwriter Bill Dubuque takes him as faith that the public will remember the background. I'm going to fill you just in case: Chris is a mathematical scientist who has trouble understanding empathy. (Since then, he never specifies his place on the spectrum. “I am just Chris”, he says here.) As a child, his rigid military father refused to welcome the eccentricities of his son, the fighter in the boy whom he must fight for his place in the world – literally. Consequently, adult Chris is a nomadic unsuitable with two talents: shooting and resolution of quadratic equations.

Ridiculous? Of course. But this first script was well calibrated with a subtle humor and romance. He also boasted of a clever support bit to Jon Bernthal While the youngest brother of Chris, Braxton, another mercenary sensitive to the way in which his desires have always taken second place to the special needs of his brother.

Bernthal has a larger part this time and his character was reworked in a comic acolyte with his own stung wiring. While Chris has too little emotion, Braxton has too much – he is delicate, unsure and subject to anger attacks, therefore taken in his own psychodrama that he makes murder to chat on his brother in a dark hostage. I can get the reasoning to build its role, but the gags are clumsy from the start, including a tedious section in which Braxton groans his urgent desire to adopt a corgi. Even Chris thinks it's weird, missing Braxton like more a cat guy.

O'Connor has piled up that he considers this series as a trilogy; The third film will be a comedy as a friend whom he describes as “” hand “on steroids”. I would like him to go ahead and made this film now. The Jokey scenes are the only ones that interest them. They are also the only ones that tend to be good.

This toural, everything is stronger and more banal. (And there are not even enough mathematics). Chris had a sinister and distinctive ICT to execute his enemies at the head; Now, the culminating battle is just a spray of bullets. It has also been transformed into a stereotypical and lightsaber with a wardrobe of eccentlled t-shirts. We read the impressive sauce.

The best joke in progress follows Chris' attempts to get a girlfriend. He begins the film at a speed-dating event where, in a large editing, he disappoints a procession of pink singons that ratatine when this piece appears to be cold and rude. “Finally, this body will be a corpse,” he said to a woman. The second sequence of Rom-Com which takes place in a Honky-Tonk bar, but, like the opener, he leads to a narrative impasse.

However, I would look at “The cash 2” on a plane twice more if he had a dozen other scenes like these. Too bad it feels a feeling of obligation that Chris draws more than the whites of Lovelorn. The film seems to go back from its own dramatic hammering, with the score of Bryce Drawing uncomfortable between the Jocular Blues and Dour, over-compensating the strings.

From each secondary intrigue possible, it is difficult to think of a worst that the hunt of Chris and Braxton to find a family of missing salvadoran. Chris is particularly taken by a photo of the son, Alberto (Yael Ocasio); He sees himself in the distant gaze of the boy. For the bad guys, we are given merchants of slaves Burke (Robert Morgan) and Cobb (Grant Harvey), although we never knew them much in addition to the noisy checkered pants of cobb and memorable Croak. There is also an enigmatic Blonde Platinum Hitman (Daniella Pineda), who turns out to have undergone a devil of aesthetic brilliance.

It is not the fault of the film that it was released when the Americans are invited to pay sincere attention to immigrants vulnerable to kidnapping and abuse. But it is a problem when “the accountant 2” peddles pizzagan insinuations while treating his victims like a silent and humanity brochure – almost none of the Latin characters gets real lines other than a breath of Spanish adapted to the Gringo. (“Estupido!” “Vamanos!”)

Adding to the Buzzkill, this suite brings back its most destroyed character, Marybeth (Cynthia Addai-Robinson), the director of the rescue network for financial crimes of the US Treasury Department, who walks in the rescue mission of the Wolff brothers, mainly to teach them when they operate outside the law. Federal agents cannot kiler and have people, she insists. The film is so uncertain what to do with her that her two great moments are an incredible fight and her joy of finding a comfortable office chair.

Frankly, the more insignificant the crime, the better the aspirations of the comedy of this franchise would work. Divide my affection for the first film by the few smart beats here and it is enough to make me see what O'Connor calculates for “the accountant 3.” But for the love of Gauss (as in Carl Friedrich GaussThe prince of mathematics), I hope that the rest is not more serious than “who short-circuited the Bitcoin of the accountant?”

At least, this ridiculous would match the revelation here that Chris finances a brilliant neurodivers academy capable of hacking any camera, computer or city reverbery. I think the film wants these young people to be a semi-carré gang of X-Men, but it gives them no dialogue or individuality; They are treated more like orphans in “Oliver Twist”. They are probably not even paid. What radiation.