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      ‘The Accountant 2’ Review: Ben Affleck’s Revenge of the Killer Nerd

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      Affleck returns as a brilliant C.P.A. who moonlights as a mysterious, gun-toting fixer and gets help from his little bro, played by Jon Bernthal.“The Accountant 2” is a blithely nonsensical, enjoyably vulgar follow-up to “The Accountant” (2016) about a numbers whiz played by Ben Affleck, who has impeccable marksmanship and shaky people skills. Like the first movie, the sequel embraces violence without apology, slathers the screen with (fake) blood and unleashes a small army of stunt performers who convincingly play dead. This one has another complicated intrigue and a great deal of plot, though most of the tension comes from watching Affleck struggle to suppress a smile while sharing the screen with an exuberantly showboating Jon Bernthal.The sequel picks up eight years after the first movie introduced Affleck’s Christian Wolff, a brilliant autistic forensic accountant who moonlights as a freelance avenger with help from friends. (The movie’s breezy embrace of cliché includes the stereotype of the autistic savant.) J.K. Simmons shows up as Ray King, the former director of the Treasury Department’s criminal investigations unit. He briefly enters wearing a cap and soon exits without a pulse, though not before setting the story in motion. Cue the gunfire and choreographed chaos, as well as amnesia, plastic surgery, trafficked women, child hostages and a miscellany of villains, ones who are cruel enough to bring out (and amply stoke) the audience’s bloodlust.King’s successor, Marybeth Medina (Cynthia Addai-Robinson), re-enters afterward to help nudge the story forward as does Christian’s younger brother, Braxton (Bernthal). Everything (and everyone) flows together more or less, even when the story strains credulity, as B-movie shoot-em-ups often do. It helps that there’s less back story here than in the first movie, which revisited Christian’s brutal childhood and his Oedipally nurtured violent skill set. That frees up the filmmakers — like the first movie, this was written by Bill Dubuque and directed by Gavin O’Connor — to focus on keeping all the people and parts nicely moving. Among these is Affleck, whose controlled, inward-directed performance holds the center.One irresistible draw of a diversion like this is that while its good guys are often bad, its bad guys are assuredly worse. Both Christian and especially Braxton have obvious moral failings (ha!), but their kill counts are never the problem, which puts them in fine, crowded company. American movies love gunslingers, after all, whether they have Texas or British accents, wear white hats or gray ones like Christian. Among these are the seemingly ordinary men — blue-collar types, next-door dads, computer jockeys — who, when hard push comes to brutal shove comes to catastrophic violence, will take off their glasses à la Clark Kent to transform into near-mystically gifted avengers. They lock and load, restoring order to a broken world.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares144 Views

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      Karen Durbin, 80, Dies; ‘Fearless’ Feminist Who Edited The Village Voice

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      A fierce advocate of sexual liberation, she pushed the alternative weekly to cover women’s issues, as well as gay rights and avant-garde culture.Karen Durbin, a fierce feminist who championed sexual liberation and fulfillment as a journalist, served as the second female editor in chief of The Village Voice and then went on to become a virtuoso film critic for The New York Times and other publications, died on April 15 in Brooklyn. She was 80.Her death, in a health care facility, was caused by complications of dementia, her friend and former colleague Cynthia Carr said.Appointed in 1994 as The Voice’s editor in chief — she was only the second woman in that job in the paper’s history, and the first in nearly two decades — Ms. Durbin waged a fervent campaign to attract young readers. Part of that effort involved tilting toward often incendiary coverage of feminism, gay rights and avant-garde culture, and away from muckraking about corrupt and incompetent landlords, judges and politicians.Not that she abandoned covering corruption and crime: In 1996, she overruled the paper’s lawyers and published an article that all but accused the nightclub promoter Michael Alig of “A Murder in Clubhand,” as the headline proclaimed, after the reporter, Frank Owen, produced an on-the-record source. (Mr. Alig later pleaded guilty to manslaughter.)An assortment of Ms. Durbin’s press credentials. After her stint as editor in chief at The Village Voice, she wrote about film for The New York Times and other publications.Karen Durbin Papers, Barnard Archives and Special CollectionsBut even before she was editor in chief, she had set a tone that outraged traditionalists, mostly the older, white male staffers — or “the boys club,” as she put it. When she was the senior arts editor, they took issue with some of her editorial choices, including an assignment she made in 1986: Ms. Carr’s profile of the performance artist Karen Finley, whose act included the sexually explicit use of canned yams as part of a sendup of female objectification.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Death, Taxes and Ben Affleck: ‘The Accountant’ Gets a Sequel

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      In the movie class of 2016, “The Accountant” was a wild-card.It told an original story for adults, breaking from the family-friendly intellectual property derivatives that crowded the top of the box office charts. And though it resembled a durable breed of man-on-a-mission action thrillers, it had an absurdist, gleefully dorky twist — Ben Affleck playing a neurodivergent bookkeeper and consigliere to the criminal underworld.Audiences responded. “The Accountant” outperformed expectations in theaters, earning $155.5 million globally (according to Box Office Mojo), and was the No. 1 most rented movie of 2017 (according to Comscore), ahead of “Moana,” “Wonder Woman” and “Rogue One: A Star Wars Story.”Nine years and a change of studios later, a sequel, “The Accountant 2,” arrives on Friday, with Affleck and much of the original cast (Jon Bernthal, J.K. Simmons, Cynthia Addai-Robinson) returning, along with the director Gavin O’Connor and the screenwriter Bill Dubuque. In two conversations — one at South by Southwest in March, before the film’s premiere there, and another virtually earlier this month — Affleck, O’Connor and Dubuque discussed regaining the rights to the story, the definition of success and a potential idea for a third film.These are edited excerpts from the conversations.Affleck, right, with Jon Bernthal in “The Accountant 2.”Amazon StudiosBill, you wrote the script for the first “Accountant” independently — before an actor or a director was involved. Where did the main character, Christian Wolff, come from?BILL DUBUQUE I know people who are on the spectrum, and I thought something like this might be interesting; I’ve always been interested in how the brain works. I thought we could take this character who has a certain set of skills, a certain set of vulnerabilities, and not make him a victim but put him in a situation that was entertaining and where you felt something for him.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How Ozu Created His Own Cinematic Language

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      The greatest filmmaker of postwar Japan found a new way to show life onscreen.MONO NO AWARE, a phrase that translates to “the pathos of things,” or something like “the beauty of transience,” has been a key aesthetic principle of Japanese art and philosophy for centuries. In the films of Yasujiro Ozu, the most famous of which are quiet domestic dramas set in Tokyo after World War II, that feeling is often manifested in what critics have come to call pillow shots: Every so often, the camera cuts away from the main action to a nearby object — a tree stirred by wind, a vase near a moonlit window, a passing train. It isn’t usually the case that a character in the movie is meant to be seeing that object at that moment, as another director might imply. Rather it’s the filmmaker who’s gently guiding our perspective away from the action, reminding us of the material world that persists outside of the story’s concerns. Ozu once spoke in an interview about deliberately leaving “empty spaces” in his movies as a means of revealing “the hidden undercurrents, the ever-changing uncertainties of life.” More

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      Pope Francis, Unlikely Movie Star: From ‘Conclave’ to ‘Francesco’

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      In fictional tales and documentaries, directors approached him as a screen character who was both admired and controversial.Watching Edward Berger’s hit Vatican thriller “Conclave” last year, I found it hard not to think of Pope Francis. The film is fictional, based on Robert Harris’s 2016 novel, published three years into Francis’s papacy. But one key character in the film is a Mexican archbishop working in Kabul, a reformer calling on the church to focus on those marginalized and historically excluded by the institution.Plenty separated the “Conclave” character from the sitting pope, who died on Monday, the day after Easter. But such a simple yet eloquent onscreen activist could recall only Francis, the first Latin American cleric to assume the papacy. He drew both admiration and controversy, based largely on his concern for the poor, immigrants and refugees; his calls for environmental stewardship; and his efforts on behalf of gay and lesbian Catholics. That work inflamed more conservative wings of the church while endearing him to many, Catholic or not, who saw a new way forward in his life and teachings.And that also made the pope an unlikely movie star. Francis may have been the most cinematic pope, with fictional and documentary representations of him proliferating during his 12-year papacy. Some of those films were made by and for Catholics, like the 2013 documentary “Francis: The Pope From the New World,” produced by the Knights of Columbus; Beda Docampo Feijóo’s 2015 “Francis: Pray for Me,” a biographical drama about his pre-papal days; and Daniele Luchetti’s 2015 “Chiamatemi Francesco,” or “Call Me Francis,” which concentrated on his work as “the People’s Pope.”But many of these movies weren’t really aimed at an audience of the devout. Instead, they show the source of Francis’s wider appeal. His attention to issues of social and cultural import gave filmmakers a way to approach him as a screen character, not just a religious leader. Here are six such films, which help frame Francis’s legacy and illuminate why he made such an appealing subject.‘Pope Francis: A Man of His Word’ (2018)Buy or rent it on digital platforms.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Try This Quiz on Disaster Movies Inspired by Books

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      Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about books that have gone on to find new life as movies, television shows, theatrical productions, video games and more. This week’s challenge is focused on books about disasters — natural or human-made — that were adapted for the screen. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the books and their filmed versions. More

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      ‘Pangolin: Kulu’s Journey’ Review: Emotional Rescue

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      In this heartfelt wildlife documentary, a volunteer conservationist and an endangered critter develop a parent-child connection.The healing goes both ways in the documentary “Pangolin: Kulu’s Journey,” as a troubled man and an endangered mammal form a startling bond. The result is a movie so sweet and soothing you’ll be forced to admit that sometimes the universe — or, in this case, Netflix — gives you exactly what you need.What Kulu needs is rescuing and rehabilitation. As a pangolin, sometimes known as a scaly anteater, this gentle beast is in high demand because of the importance of its scales in traditional Chinese medicine. Saved from illegal traffickers as a baby during a sting operation, Kulu is underweight and panicked. Once installed at the Lapalala Wildlife Reserve in South Africa, he will need constant care and monitoring for many months until he is able to survive on his own.In the hands of Gareth Thomas, a former poker player turned Volunteer Pangolin Walker, Kulu is as cherished as the average human newborn. For Thomas, whose difficult adolescence and the loss of close friends led him to seek a more emotionally meaningful life, Kulu’s well-being is a round-the-clock obsession. Leading the animal to the tastiest anthill, braving predators to sleep outside his burrow, or just cuddling and playing — Thomas isn’t joking when he describes himself as a helicopter parent.Beautiful to look at and unabashedly sentimental, “Pangolin,” patiently directed by Pippa Ehrlich (whose 2020 documentary, “My Octopus Teacher,” also revolved around a cross-species love connection), is informative yet blessedly light on talking heads. Slices of narration by the ant specialist Dr. Caswell Munyai tell us that the pangolin is believed by some African people to possess mystical powers; observing Kulu’s ability to entrance his protector, that seems all too believable.“There’s got to be a point where you let go,” Thomas says, sadly, near the end. I, for one, am not convinced that he has.Pangolin: Kulu’s JourneyRated PG. Running time: 1 hour 28 minutes. Watch on Netflix. More

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      David Cronenberg Lost His Wife and the Will to Make Movies. Then Came ‘The Shrouds’

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      In 2017, during the funeral of his wife and longtime collaborator Carolyn Zeifman, the director David Cronenberg found himself struck by an unusual impulse: As the coffin holding her dead body was lowered into the ground, he wanted more than anything to get into that box with her.That reluctance to let go is taken to even more morbid extremes in Cronenberg’s new movie, “The Shrouds,” about a high-tech cemetery where the ongoing decomposition of a corpse can be viewed through a video livestream meant for the loved ones left behind. When those graves are mysteriously vandalized, it’s up to the cemetery owner Karsh (Vincent Cassel) to determine the culprits, who he suspects may have something to do with the death of his own wife (Diane Kruger).The 82-year-old Cronenberg has always been guided by a unique point of view as a filmmaker, and his classics like “Scanners,” “Videodrome” and “The Fly” helped establish the body-horror genre. Still, he admitted in an interview via Zoom this month that “The Shrouds” could be considered one of his most personal films: It’s not for nothing that Cassel is costumed to look like his director, donning dark suits and teasing his gray hair upward in a familiar manner.Cronenberg movie moments, from left: Stephen Lack in “Scanners”; Debbie Harry in “Videodrome” and Jeff Goldblum in “The Fly.”Canadian Film Development Corporation; Universal Pictures; Twentieth Century Fox, via Getty ImagesEven so, Cronenberg cautioned against drawing too many links between himself and his lead character.“As soon as you start to write a screenplay, you’re writing fiction, no matter what the impetus was in your own life,” Cronenberg said. “Suddenly, you’re creating characters that need to come to life. And when you start to write them, they start to push you around if they’re really alive.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More