Film reviews

The Accountant 2 Review

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This is a sequel that I was quite surprised by. The Accountant 2 keeps the level of suspense on par with The Accountant. The difference is that this version highlights bonding and there is a lot more breaking of the ice between the film’s two main characters. Ben Affleck is back as Christian and Jon Bernthal returns as Braxton—two brothers living the high-life based on their talents as criminal masterminds. The result is a solid sequel for The Accountant 2.

As someone on the spectrum, my appreciation for this film grew due to the focus on neurodiversity which was highlighted in Affleck s performance. The first one created a foundation, but this time the film has those on the spectrum taking part in technological operations. The subject of sensory struggles finds a light and is shown to help in some circumstances. Despite some of the risky issues involved, the film fuels anarchy for a cause. The challenges and benefits of neurodiversity take on a larger presence with greater meaning in The Accountant 2.

The film begins with Treasury Agent, Marybeth Medina (played by Cynthia Addai-Robinson). She finds herself trying to solve a mystery surrounding the killer of her former boss which Christian and Braxton are linked to. Christian continues his solitary routine and his patterns with diverse activities. He also continues to thrive on numbers and accurate systems. Christian still has a brilliant mind but gets ugly if he must. Braxton, on the other hand, is still lethally violent, but is also lonely and obsessed over getting a dog. 

The Accountant 2 is well written, especially when it comes to living a life of solitude with a low profile. I appreciate that many who are neurodiverse tend to establish a small presence. As the brothers team up to hunt down the killer, Christian’s fixations come into play. He is straight-forward with numbers, facts, laws, and knowing which moving parts are wrong. His methods are all by the book. With Braxton, however, mayhem tends to kick in too easily. The bond of brotherhood becomes stronger while chasing down bad guys in The Accountant 2.

The love/hate relationship combined with espionage is where The Accountant 2 succeeds as an acceptable sequel. Most of the time sequels are not mesmerizing. This one was because of the sibling connection. Affleck’s character uses his sensory overload to his benefit and success, and Bernthal’s character capitalizes on the chaos. Together they are dynamite duo.

During their mission, there are many questionable moments.They go from state to state and country to country which adds intriguing layers which compliment the movie’s theme. At the same time, some of the places in the film are fascinating while others are not. For example, the setting of Boise, Idaho is the right place for solitude after the events of the previous film. When the setting switches to Virginia and an institution of neurodiverse workers, that also fits this sequel well. However, the international setting of Berlin, Germany didn’t fit as well. Although, perhaps adding different countries provided another layer of exciting tactics to the film.

The Accountant 2 is vivid and joyful. The humor is spot-on as is the suspense which combine for an unforgettable continuation. A few moments were flawed, but the film stays on track to keep the fascination alive. Three-and-a-half out of four stars for The Accountant 2.

Film reviews

The Shrouds Review

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From director David Cronenberg, comes a unique masterpiece where science and technology create a new form of suspense. The Shrouds is by far one of the most invigorating portraits where evolutions of technology are in advance of greater things. The writing and setup are so clear in its context of an environment of artificial intelligence and a lot of connectivity that is out of this world. Cronenberg has always had an eye for making films that are ahead of their time. While creating his many projects he always develops a twist or multilayers for perspective…everything happens for a reason. Karma is woven into a theme of growth that mingles with other detrimental factors—The Shrouds is unstoppable.

I have had many of my Cronenberg experiences on the big screen. They were moments that were meant to be in that format. I felt I was in the TV world of Videodrome at the Music Box Theatre. I felt like I was in the many car scenarios of Crash at the Gene Siskel Film Center, and I came face-to-face with a restored print of A History of Violence at Doc Films Chicago. All these moments were ones restored in 4k or presented in film. Cronenberg’s eye for directing  have always unveiled cinematic wonders for me and reminded me to remember to go into his films with an open-mind. A very wide “open mind” is essential with The Shrouds.

The Shrouds brings the viewer many years into the future. Its main character is Karsh (played by Vincent Cassel). He is a widower and owner of a graveyard company called Grave Tech. He sells his clients grave sites and tombstones to view the remains once they are buried. Karsh overlooks the remains of his deceased wife, Becca (played by Diane Kruger). He examines her body decaying and her bone structure. This is his coping mechanism to help him deal with his loss. While moving forward he looks to expand his business as the world evolveswith the growth of different technologies. His sister-in-law is Becca’s twin sister, Terry (also played by Kruger). His other family connection is Maury (played by Guy Pearce). As Karsh is grieving, he is also working to utilize his grief to better his business at Grave Tech. 

The scientific blend of continuity is top-notch and surreal in The Shrouds. The lines of new generations are in the works when suddenly everything changes when Karsh’s cemetery is attacked. With Maury, he tries to put together the pieces of technological elements to find the answers.  Maury is adept with coding and decrypting aspects. The Shrouds becomes a search for conspiracy while also maintaining professionalism. However, Karsh’s ego and loss begin to alter his choices, especially when it comes to how he puts his own technology to use. 

The search for answers is where the film becomes a thrill ride of connectivity and rivalry. Cronenberg pushes the aspects of ownership to the extreme in The Shrouds. With the technology of Karsh being altered to observe his deceased wife, he begins to backlog who he is associated with to paint a better picture of what happened. He wants to get an understanding of what he might be dealing with in a time when the minds of professions and politics are altered. Cronenberg presents the pattern of self-creation and entrepreneurship to fulfill a destiny of peril.

There is the saying in the film which goes, “visceral urge!” This is saying is one that I felt throughout The Shrouds. I felt this perspective in a tone that is two-sided. One side had me wondering about Karsh’s grief, and the other about who he is associated with. Becca’s death impacts him in a subtle yet enticing matter. On the other hand, he has many political factors to take into consideration of what he might be dealing with. The connection to countries such as Japan, Iceland, and others playsa political role in his partnership aspects. His grief is one that is presented to bring modernization to more places. Deep down though, there are a lot of other problems he may not be aware of. The Shrouds has a pattern of questioning its characterizations  ina haunting direction.

With all the underlying factors weaving suspense in a universe far into the future, this is one of the most resource-focused films I’ve seen from Cronenberg. Many questions will surface throughout this extraordinary and thought-provoking journey. What is right about Karsh’s choices? How trustworthy are Karsh’s actions? What resources have stronger correlations? Cronenberg’s writing creates depth in the character of Karsh being determined to make science come alive through the heart of lost ones and create an existence of connectivity.

The Shrouds is one of the most abrasive and vivid works of creativity that I have seen from Cronenberg.  The grieving aspect is what is abstract, because science and evolving technology (after the death of a loved one) turn the tables rapidly. Its writing generates a feeling of disconnect which fuelstones of something sinister. A lot of this is portrayed through the performances of Cassel, Pearce, and Kruger—they are the ones at the center who are connected most to what is bound to be impacted.  The Shrouds is a story of a race for answers in a world where politics and many professions are blindsided by the pace of technology. It is a thriller where the moral is to trust no one, and do not look back. Four out four stars for The Shrouds.

Ebertfest 2025, Lists

Ebertfest 2025 Preview

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“We live in a box of space and time. Movies are windows in its walls.”

-Roger Ebert.

I feel I will live in a box of both “space” and “time” at Ebertfest.This festival of community and inspiration begins April 23 and will conclude April 26.  Roger was my inspiration to be a film critic not only because I have always loved movies, but also when my parents turned on his program Ebert & Roeper and I saw him in his element and was hooked. The discussions of new releases and ratings with thumbs up and thumbs down came to me in an instant. From that day on, Roger was my idol in my film critique journey. This year, I feel that Ebertfest is emphasizing the importance of surrealism and revisiting pure classics. As one who has attended the festival since 2015, I feel this year is going to be one of enticement and appreciation among many audiences for Ebertfest. These are my four most anticipated titles in this year’s festival.

The first one is Desperately Seeking Susan. This is going to be my first time watching this film, although I have read about the direction and the many classic moments of the characterizations. The concept of finding boredom is what makes me anticipatethis one at Ebertfest this year, especially with the film entering its forty-year anniversary. There is that vibe of the 1980s that is going to blend a special feeling of wonder for the many audiences with Desperately Seeking Susan at Ebertfest this year.

The second one is His Three Daughters. This was by far one of the most influential and personal journeys of a story I have seen. His Three Daughters is a film that encompasses empathy andfinding common ground among siblings. I am looking forward to revisiting His Three Daughters because of how it will bring many emotions to the table. It will bring some uplifting moments and some on the more serious side–deep down the audiences at Ebertfest are going to feel engaged with the film. The performances of Carrie Coon, Natasha Lyonne, and Elizabeth Olsen will dive into the core of the film without holding anything back. The director of the film, Azazel Jacobs, will be in attendance, and his discussion is going to take the meaning of His Three Daughters to heights that connect the themes of relativity, personality, and compassion in telling this story.

The third one is The Searchers. This title is also special becauseit is a first time viewing for me and it is going to be screened in a restoration print. In addition, it is the opener to the festival. A quintessential John Wayne and Western classic is the way to start festival, as Roger worshipped films in this category. It will also make us feel we are part of an era that feels dismissed, yetits presence still fulfills and has merit with the ability to see this film in print. In seeing The Searchers, I feel I am going to feel like I am in a historical setting around its era. 

The fourth film is Megalopolis. A project by Francis Ford Coppola where I felt my initial experience was an on and off one. Despite its efforts with many decades in the making, the flawed moments add an interactive track to the film itself. Overall, Megalopolis is a title that adds a lot of worthiness to the festival. With Coppola himself, taking part in a discussion, this will add to the surreal component surrounding Megalopolis. There are a lot of flaws in back-and-forth efforts which somedislike, and others love. I am one that is neutral about Megalopolis, but I know that revisiting it is only going to fuel my mind with more curiosity to the visionary efforts of Coppola himself.

Finally, The Hangover will be screened. This is a comedy that is genius and has many memories that live in the mind to this day. A classic comedy of moving parts and raunchy humor where Vegas does not have the greatest outcome for its bachelor party friends—all together though, it is one wild ride that brings in the biggest laughing moments to this day. I love The Hangover.  “Whatever happens in Vegas, stays in Vegas,” is a saying that feels like a monumental and appropriate conclusion to this year’s festival, as it closes out the fest. To add to the fun, Producer Scott Budnick will be there for a Q and A after the movie.

To conclude, this year’s festival is going to be my fourth time attending. I attended in 2015, 2023, and 2024 and I look forward to returning for another year. I have attended many film festivals ranging from Cannes Film Festival, Chicago International Film Festival, Chicago Critics Film Festival, Chicago Reeling Film Festival, Chicago Underground Film Festival, and I have done virtual coverage of Fantastic Fest. Many festivals have lots of chaos with jumping from screening to screening and always taking risks to get into the big events. There is fun to that, but it also adds the stress and anxiety. There is none of that at Ebertfest. All the films are in the same place, the iconic The Virginia Theatre. With a fest in one place, soaking in what films mean, and their context of wonders, the mind is more stimulated. With the foundation of Ebertfest, appreciation comes to a light where there is so much to be thankful for and emphasize film as an art-form in a context that offers a spectrum of films and many opportunities to change gears. That is what makes a festival one to be remembered for ages along with thediversity among filmmakers, actors, critics, and audiences itself.  Ebertfest builds a fundamental appreciation of film to a level that is unforgettable.

What touches my heart the most is I feel I am in a certain environment. That “environment” belongs to my influence…Roger Ebert! Watching the many films he loved or would have loved. Roger’s presence is always with me as a critic, and I know it will shine with me again at this year’s Ebertfest starting April 23rd! Festival passes (available now) and individual tickets (available closer to the start of the festival) can be purchased on Ebertfest.com! 

Treating cinema in many forms of art!