‘The Ac­coun­tant’ ... Cal­cu­lated, yet con­vo­luted

Jamaica Gleaner - - ENTERTAINMENT - Damian Levy Gleaner Writer

he’ll leave your ass for a white girl’ – and Kanye hap­pens to be with a white girl now. It wasn’t funny when he said it; it was the f***ing truth.”

And that wasn’t the only thing the Su­per­bass hit­maker had to say about the 35-year-old Keep­ing Up with the Kar­dashi­ans star, as she re­cently hit out at Sharon Os­bourne for prais­ing the star’s naked selfie.

On Sharon’s television show, The Talk, the 64-year-old pre­sen­ter de­scribed Nicki’s Ana­conda promo cover – in which he wore just a pink Gstring and sports bra – as a “cheap porno cover of a DVD”.

How­ever, when photos sur­faced of Kim’s fa­mous naked selfie, Sharon branded the pic­ture as “in­spir­ing” and even went on to repli­cate the cover her­self.

Nicki said: “So it wasn’t trashy and raunchy when a white woman did it, but it was when a black woman did it?

“When Kim Kardashian’s naked pic­ture came out, (Sharon) praised it, and my fans attacked her for be­ing such a hyp­ocrite.”

And the Bang Bang mu­si­cian says she ac­cepts that it’s “pa­thetic”, but admits she is “ac­cus­tomed” to speak­ing out against it.

She added: “It’s quite pa­thetic and sad, but that is my re­al­ity and I’ve got­ten ac­cus­tomed to just shut­ting it down.” Ben Af­fleck is ‘The Ac­coun­tant’.

WITH A name like The Ac­coun­tant, it’s hard to imag­ine any­thing but hy­per-ag­gres­sive key­board-clack­ing, horn-rimmed glasses, and a job that few like. While Ben Af­fleck’s char­ac­ter in this film is an ac­tual ac­coun­tant, his job de­scrip­tion en­tails more than the oc­ca­sional au­dit be­cause, more of­ten than not, he’s seen beat­ing, break­ing and blast­ing any­one who threat­ens him. I’d imag­ine a po­ten­tial tagline was: In­stead of crunch­ing num­bers, he’s crunch­ing skulls.

He’s dan­ger­ous be­cause he’s an ac­coun­tant for dan­ger­ous peo­ple. Mob bosses and drug car­tel lead­ers across the world go to him to cook their books. That’s a unique con­cept in and of it­self, but the film has more to of­fer. The ac­coun­tant has a high-func­tion­ing brand of autism, and a difficulty so­cial­is­ing, but a nar­row fo­cus that al­lows him to work with num­bers quickly. Or­der and or­gan­i­sa­tion are his gods.

While this tends to be the “autism as a su­per­power” we see so of­ten in shows like Sher­lock, I felt it was earned, mostly be­cause you get a sense of the ac­coun­tant’s devel­op­ment through a hand­ful of flash­backs; flash­backs that make this film feel even more Bat­man-es­que than it’s star. The movie made me un­der­stand as much as I could about this char­ac­ter since it was dif­fi­cult for me to re­late to his sit­u­a­tion. Ben Af­fleck does more with less, cap­ti­vat­ing in a role that de­nies him the lux­ury of broad ex­pres­sion.

How­ever, as en­gag­ing as, the ac­coun­tant him­self is, the film is chal­leng­ing to say the least. Ini­tially, fol­low­ing the tale of an ac­coun­tant for crim­i­nals, who hap­pens to be on the autism spec­trum, is enough; more than enough, some would say. The film dis­agrees, and throws in sto­ry­lines and char­ac­ter de­tails that need­lessly con­vo­lute the nar­ra­tive. There are mo­ments where a fur­ther layer of the film is re­vealed and you im­me­di­ately wish it had re­mained con­cealed; hid­den away for­ever. Pre­serv­ing the less is more of the ap­proach the movie had so con­fi­dently set up.

The Ac­coun­tant is a movie I strug­gle with. I en­joyed it, but I can clearly see its faults. Its fail­ures make its suc­cesses less im­pact­ful. It hits emo­tional beats and pro­vides re­ally in­ter­est­ing action, but it gives you soap-opera sto­ry­telling you’d see in a bad comic-book movie. All that be­ing said, I sup­pose I could say this is a movie you should see with low­ered ex­pec­ta­tions.


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