The Accountant (2016)

128 min|Action, Crime, Drama|14 Oct 2016
7.3Rating: 7.3 / 10 from 388,753 usersMetascore: 51
As a math savant uncooks the books for a new client, the treasury department closes in on his activities and the body count starts to rise.

Kisah tentang autisme memang sudah beberapa kali difilmkan namun rasanya baru ini menampilkan sesuatu yang unik dalam kemasan aksi-thriller. Film arahan Gavin O’Connor ini dibintangi bintang-bintang top antara lain Ben Affleck, Anna Kendrick, serta aktor-aktor senior, J.K. Simmons, Jefrey Tambor, serta John Lithgow. Sang sineas sendiri kita kenal melalui film sport-drama berkualitas, Warrior, yang kental dengan tema bernuansa keluarga. The Accountant juga masih memiliki tema serupa walau kali ini dikemas dengan genre berbeda.

Christian Wollf terlihat sebagai seorang akuntan biasa namun karena kejeniusannya ia beberapa kali direkrut perusahaan raksasa hingga organisasi kriminal kelas kakap untuk mengaudit keuangan mereka. Suatu kali ia mendapat klien sebuah perusahaan robotik untuk menyelidiki kejanggalan keuangan disana, ditemani Dana, asistennya dari perusahaan terserbut. Wollf dengan cepat menemukan adanya dana yang hilang dengan jumlah yang amat besar, dan berikutnya korban mulai berjatuhan untuk menutupi jejak pelaku sesungguhnya. Wollf dan Dana pun menjadi sasaran berikutnya.

Hampir separuh awal cerita dijamin membuat kita sering menggaruk-garuk kepala karena cerita berpindah-pindah dengan cepat tanpa ada waktu untuk bisa merangkai informasi dengan cepat. Masa kini dan masa lalu bisa bercampur menjadi satu jika kita tidak cermat. Informasi cerita yang disajikan pun juga melompat-lompat serta istilah-istilah bidang akunting bisa membuat penonton awam bingung namun berjalannya waktu satu demi satu kita bisa merangkai teka-teki kisahnya. Penonton yang jeli bahkan sudah bisa membaca kemana cerita akan bergerak sejak separuh film melalui pola mirip dengan Warrior. Ini yang menjadi kelemahan kisahnya walau klimaks yang diharapkan ternyata berbalik justru tidak seperti yang kita harapkan.

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Ben Affleck kali ini kembali memerankan sosok “Batman”, autis – jenius, yang belajar pencak silat di Indonesia sejak usia cilik. Peran ini jelas tak sulit buat sang aktor karena ia lebih sering terlihat sebagai manusia “normal” ketimbang “orang sakit”. Sementara Kendrick tidak mendapat peran besar dan lebih tampil sebagai pemanis ketimbang tokoh utama. Sosok Dana yang normal ini yang menjadi penyeimbang ditengah kerumitan kisahnya. Melalui sosok Dana pula sang sineas sempat mengecoh arah cerita film seolah mengarah ke aksi cat-mouse seperti film aksi kebanyakan yang ternyata ia patahkan lagi.

The Accountant menawarkan cerita dan plot unik dengan teka-tekinya serta penampilan solid dari Ben Affleck namun dikecewakan dengan ending lemah dan mudah diantisipasi. Agak geli juga melihat kemiripan sosok Affleck yang menjadi “superhero” autis karena ia kini identik dengan Batman. Bahkan kisahnya bisa diarahkan ke genre yang sama jika mau. Gavin O’Connor, sang sineas berhasil membuat sebuah film yang tak lazim dengan tokoh dan kemasan cerita yang tak lazim pula. Tidak istimewa memang dan dengan kemasan kisah seperti ini agak diragukan film ini bisa sukses komersil kecuali hanya menjual nama sang bintang “Batman” semata.

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A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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