Ben Affleck surprised many with his under the radar yet thoroughly entertaining 2016 action thriller “The Accountant”. He played the character of Christian Wolff, an autistic accountant who works the books and covers the tracks for some of the most dangerous criminals in the world. The movie did pretty well at the box office but never had much lasting buzz. Maybe that’s why it was a surprise to hear that a sequel was in the works.

“The Accountant 2” sees Affleck reteaming with director Gavin O’Connor and screenwriter Bill Dubuque to make a sequel that taps into much of what made the first film surprisingly compelling. At the same time they noticeably go in some new directions, mixing buddy comedy elements into a darker story about kidnapping and human trafficking. The tonal gymnastics don’t always work, leading to the movie’s overall uneven feel. At the same time, the humor adds to the fun and helps “The Accountant 2” to stand out from its predecessor.

After Director Raymond King ( a briefly returning J.K. Simmons) is killed by unknown assassins, Treasury Agent Marybeth Medina (Cynthia Addai-Robinson) follows King’s dying wishes and contacts Christian Wolff to help solve the murder. In the process, the two uncover a web of violence and crime that involves a missing family, a rogue assassin (Daniella Pineda), human traffickers, and drug cartels. In over his head, Christian calls on his estranged brother Braxton (Jon Bernthal) for help.

Here’s the thing, Christian and Braxton haven’t seen each other in eight years. So convincing his brother to help requires a little personal effort which is not among Christian’s strengths. And considering Braxton is a contract killer, once he does inevitably agree to help, his aggressive methods immediately clash with Marybeth’s.

From there the movie travels in two different directions. One involves the two brothers mending their relationship through frequent banter, a good ol’ honky-tonk bar fight, and killing a bunch of really bad people. The other involves uncoiling the mystery with Christian using his particular set of skills and his secret team young savants to expose King’s killers and finish the work his late friend had set out to do.

The most noticeable change in “The Accountant 2” is Bernthal’s expanded role. He gets a lot more to do and does a good job developing his character beyond his tough rugged exterior. He and Affleck have a strong onscreen rapport both dramatically and comedically. And that camaraderie kicks into another gear during the film’s bullet-riddled finale. Together they bring an energy that may not always gel with the rest of the movie, but that manages to entertain on its own.

“The Accountant 2” deserves credit for doing more than just copying its predecessor. O’Connor and Dubuque put in the work to expand their characters and grow their relationships. At the same time not all of the swings connect as solidly as intended. At times the humor can be jarring and even out of tune, making the main story take a backseat. But there’s still plenty to enjoy in “The Accountant 2” – the second installment in an unlikely franchise that isn’t afraid to tinker with its own formula.

VERDICT – 3 STARS

Who said all action stars have to have the brawn of Dwayne Johnson, the intimidating snarl of Liam Neeson, or the bone-cracking agility of Jason Statham? Case in point – Rami Malek in his new film “The Amateur”. He plays an unassuming but extremely intelligent CIA cryptographer who sets out to avenge his wife after she is killed in a London terrorist attack.

In truth, “The Amatuer” isn’t a full-blown action movie. Based on author Robert Littell’s 1981 novel of the same name, this adaptation from director James Hawes has more in common with an espionage thriller. Malek plays Charlie Heller, a brainiac for the CIA who works on encryption and analysis. He’s a quiet homebody who stays consumed with his work which leads him to turn down an offer from his wife Sarah (Rachel Brosnahan) to accompany her on a business trip to London.

But Charlie’s life is shattered when he is informed by CIA Deputy Director Frank Moore (Holt McCallany) that Sarah has been killed during a terrorist attack at her London hotel. The higher-ups assure Charlie that they’re on top of it. But after days of being put off and left in the dark, Charlie decides to take matters into his own hands. He looks to his own “particular set of skills” to track down and pay back the people who took his wife’s life.

But Charlie uncovers incriminating evidence against Director Moore that puts him in the crosshairs of his powerful bosses. So as he travels the globe to find his wife’s killers, he also has to dodge CIA operatives sent by the very agency he works for. They include Robert “Hendo” Henderson (Laurence Fishburne), Charlie’s alleged mentor turned assassin. Filling out the movie’s terrific cast is Caitríona Balfe, Jon Bernthal, Michael Stuhlbarg, Julianne Nicholson, and Adrian Martinez.

“The Amatuer” gets off to a strong start and does a good job setting the table for a compelling espionage thriller. The first half nicely opens up Charlie, defining his strengths and weaknesses, both of which will come into play throughout the movie. But the second half gets bogged down in its efforts to get from one point to the next. And while Malek’s performance remains steady, he gets caught in the slow-turning gears of the plot. The character development mostly stalls as the story ushers him from country to country.

That said, “The Amateur” is both competently and confidently made. The locations (namely London, Marseille, and Istanbul) are well shot and well incorporated into the story. Malek is a good choice for such a unique protagonist and the handful of action sequences fit well with the character he’s playing. But it’s not without its flaws. A tighter second half and more Jon Bernthal would have done wonders for this entertaining but drawn-out feature.

VERDICT – 3 STARS

Jason Statham is an actor who knows where he shines. He’s a deceptively good actor with a surprising knack for comedy. But his bread and butter is the action genre. Statham has made a name for himself playing tough and gritty characters with his patented intensity and bone-cracking physicality. He certainly brings all of those qualities to his latest feature, “A Working Man”.

This is the latest movie from director David Ayer who’s working from a script he co-wrote with Sylvester Stallone. Their story is based on a 2014 novel by Chuck Dixon entitled “Levon’s Trade. While I can’t speak for the book, there’s nothing especially original about the film’s script, And despite a few sparks, Ayer’s has a tough time maintaining a steady energy. That leaves us relying on Statham whose sturdy charisma holds everything together.

This time around Statham plays Levon Cade, an ex-Royal Marines commando who has put his old life behind him. He now works as a construction manager for a family-owned Chicago-based development business. His employers, Joe (Michael Peña) and Carla (Noemi Gonzalez) Garcia have taken Levon in like family and he has developed a tight relationship with them, especially their spunky 19-year-old daughter, Jenny (Arianna Rivas).

But as always happens in movies like this, Levon is forced back into his old life after Jenny is kidnapped while out on the town with some friends. He makes a pledge to Joe and Carla that he’ll bring their daughter back and then he ‘goes to work’. Human traffickers, drug dealers, corrupt cops, the Russian mafia – they all find their way into the story, clogging things up rather than adding narrative layers as intended.

In several ways “A Working Man” hearkens back to the old-school 1980’s action flicks so many of us grew up on. Statham has always fit into that mold while still possessing his own special brand of action. The 57-year-old gets to show it off throughout the film but not as much as you might expect. That’s because the script packs so much else and has a hard time servicing it all. The slew of villains crammed into it is one thing. But it’s also underdeveloped in other areas including the domestic drama with Levon’s young daughter and his untreated PTSD.

Still Statham ensures “A Working Man” remains watchable throughout. The action we get (though questionably edited at times) is satisfying and Statham gets several good non-action scenes, some of the best being with David Harbour playing Levon’s old military pal. But in the end, the filmmakers pour a lot into what is a pretty thin premise. And despite its bloated middle section which tries to add weight, the overall story is still predictable or formulaic to a fault. “A Working Man” is in theaters now.

VERDICT – 2.5 STARS

Science fiction and horror collide in the nightmarish new feature “Ash” from DJ, record producer, and filmmaker Flying Lotus. With its audacious visuals and masterfully managed tone, “Ash” sucks you into its forbidding far-away world, embracing several familiar conceits along the way while adding its own gnarly twists to them. The results may not redefine the sci-fi horror genre. But does every movie need to?

“Ash” takes a fairly conventional science fiction story and tells it through its own wickedly artful lens. It’s a movie that takes on numerous forms and blends elements from several horror sub-genres. It’s a deep-space chiller with a dark psychological edge. But there are also bites of survival horror all through it. At times it resembles a grisly midnight crowdpleaser yet it’s almost experimental in some of its techniques. What’s impresses most is how it all gels together – a testament to Flying Lotus’ keen vision and tight control.

Its backstory is pretty generic – Earth has become nearly uninhabitable resulting in crews being sent into space to find a planet capable of sustaining human life. While I admit to being a sucker for that tried-and-true setup, screenwriter Jonni Remmler doesn’t spend too much time on why the crew is there. Instead he goes straight to the present, submersing us into his protagonist’s terrifying scenario as both she and we try to piece together the mystery as it unfolds.

Originally set to star Tessa Thompson, the lead role eventually went to Eiza González who gives what deserves to be heralded as a breakout performance. Her physical and emotional commitment is essential to the film’s effect. González is superb playing Riya Ortiz, an astronaut who wakes up battered and bloodied in a space station on a distant planet designated KOI-442.

After she gathers herself, Riya discovers the station has been ravaged and her four fellow crew members killed in expressly gruesome fashion. Even worse, Riya has no idea who she is, where she’s from, or what happened. As she investigates the heavily damaged facility and examines the mangled bodies of her crew mates, Rya is shaken by the sudden appearance of a man named Brion (Aaron Paul) who claims to be responding to an SOS call sent from the station to the orbital he mans off planet.

Brion’s presence feeds into the greater mystery of what happened on planet KOI-442 (which the crew has nicknamed “Ash”). Flying Lotus drip-feeds us information, partially through Riya’s discoveries, but mostly via jolts of violent flashbacks. In them we see the fates of Adhi (Iko Uwais), Kevin (Beulah Koale), Catherine (Kate Elliott), and Shawn Davis (Flying Lotus) in gory detail. But as Riya’s memory returns, the flashbacks extend and offer more clarity.

While “Ash” may be light on plot, it’s enriched by savvy storytelling and world-building. Beginning in its earliest moments, the movie is all about creating and sustaining its dread-drenched atmosphere. It’s accomplished through some inspired craftsmanship that utilizes the impact of both sight and sound. DP Richard Bluck uses a range of shots from stunning widescreen to harrowing first-person perspectives. Add in the creepy interiors shaded in red and indigo and some killer gore effects that aren’t for the squeamish. And it’s all accompanied by the film’s menacing electronic score composed by Flying Lotus himself.

Those desperate for something groundbreaking that significantly moves the needle in the space-horror genre may leave “Ash” disappointed. But those who enjoy immersive experiences from visionary cinematic craftsmen will have a blast. Those with an affection for tense and moody sci-fi chillers will get all they want. And those who appreciate eye-opening performances will love what Eiza González brings to her role. “Ash” opens in theaters Friday, March 21st.

VERDICT – 4 STARS

Director Wendy Lobel poured years of her life into making “Anxiety Club” and the end result is pretty terrific. This funny, truthful, and ultimately hopeful documentary focuses on a group of working standup comedians, all of whom suffer from some form of anxiety. Informed by her own experiences, Lobel tackles the subject through an open and honest lens, not only letting the comics share their struggles, but in some cases showing what they’re doing to get hold on their anxieties.

Full disclosure – I’ve never been a big standup comedy guy. But it’s a testament to the effectiveness of Lobel’s film that I found myself fully connected to the collection of comics who shared their stories. Among them are Tiffany Jenkins, Marc Maron, Joe List, Aparna Nancherla, Mark Normand, Baron Vaughn, and Eva Victor. All bring their own distinct humor to the film. But it’s when their barriers are down that they get real about their own bouts with anxiety.

Lobel does a good job developing trust and a comfort level with the comics. Many speak to their lack of self-confidence that in some cases leads to an expectation of failure. Others talk about the weight of depression. In the case of one comic, their anxiety stems from persistent worrying. Early on, the comics use jokes to poke fun at their conditions. But later we get a good sense of the near crippling effect these anxieties have on them.

“Anxiety Club” doesn’t just present the struggles these comedians endure. It also shows how they’re trying to overcome them. Some see their comedy as therapeutic with the stage being their outlet. Others went for more formal therapy which Lobel gets incredible access to. During several sessions her camera sits like a fly on the wall, allowing us to see the doctor/patient process firsthand. The exchanges are sometimes funny, sometimes heartbreaking, and always enlightening.

Whether in comedy clubs or therapist offices, there is a truth and authenticity in Lobel’s approach that ultimately gives “Anxiety Club” its punch. In can be very funny in ways that sometimes feel like natural defenses. Other times it’s simply due to the inherently comical natures these comics share. But we never lose our grasp on the film’s more serious undertones. Lobel handles that balance incredibly well.

Again, I’ve never been big into stand-up comedy, but that instantly proved to be irrelevant. That’s because “Anxiety Club” is much more concerned with the people themselves. This is a richly human documentary that explores a subject nearly everyone can relate to. Honing in on people who make others laugh for a living poses its own compelling and thoughtful questions. But it’s their shared experiences with anxiety that extends beyond their work that will connect with people and earn our empathy and understanding.

VERDICT – 4 STARS