Movies

The Accountant 2, released in 2025 and directed by Gavin O’Connor, arrived with high expectations as a follow-up to the cult-favorite 2016 thriller The Accountant. Continuing the unconventional story of Christian Wolff, an autistic accountant moonlighting as a lethal operator for criminal enterprises, this sequel tries to expand the universe by delving into human trafficking and government conspiracies. The Accountant 2 aims to blend intense action with layered mystery and emotional stakes. However, despite a promising premise and returning cast, the film struggles to recapture the tone and complexity that made its predecessor distinct, instead veering into inconsistent genre-mixing and diminished character depth.

Directed by Gavin O’Connor and featuring a screenplay by Bill Dubuque, The Accountant (2016) melds action thriller motifs with a psychologically complex protagonist portrayed by Ben Affleck. The film boasts a notable ensemble including Anna Kendrick, Jon Bernthal, J.K. Simmons, Cynthia Addai-Robinson, Jeffrey Tambor, and John Lithgow. Centered on Christian Wolff, an autistic forensic accountant who operates in the shadowy corridors where finance intersects organized crime, the movie offers a mixture of crime procedural, familial drama, and action thriller elements that elicit both engagement and critical reflection.

Fight or Flight, an action comedy directed by James Madigan, emerges as a hyper-energetic and often chaotic exploration of adrenaline-fueled mayhem set within the confined space of a commercial airplane. The film’s promise lies in its blending of high-octane action sequences, comedic overtones, and a disjointed narrative that seeks to balance winks and nudges with outright spectacle. While it strives for a tongue-in-cheek tone reminiscent of hyper-stylized fare like Bullet Train, Fight or Flight ultimately trades nuanced intrigue for a visceral, gore-heavy romp that rewards viewers leaning into its deliberately silly, over-the-top approach.

Warfare (2025), directed by Ray Mendoza and Alex Garland, offers a uniquely raw and immersive perspective on modern combat, capturing the chaos and intensity of a Navy SEAL recon mission in Ramadi. The film’s commitment to realism, combined with its groundbreaking sound design—completely devoid of a traditional musical score—creates an atmosphere that feels both visceral and genuine. This movie stands as a powerful testament to the grittiness of war, emphasizing not just the violence but also the psychological toll on soldiers. Its unflinching portrayal invites viewers to reconsider the true cost of conflict, making it both an eye-opening and emotionally resonant experience.

G20, directed by Patricia Riggen and made available on Amazon Prime Video, attempts to weave an action-thriller narrative around a G20 summit in South Africa. Featuring Viola Davis as President Danielle Sutton, the film sought to engage viewers with themes of political tension, global economics, and the intersections of leadership under threat. I approached the film with anticipation, fueled by my admiration for Davis from her roles in How to Get Away with Murder and The Woman King. Unfortunately, as the credits rolled, I found myself grappling with profound disappointment as G20 tumbled into absurdity, failing to deliver on its ambitious premise.

Love Hurts is intended to be a romantic action-comedy that whisks viewers away on a thrilling ride sprinkled with heartwarming moments. Unfortunately, it delivers more cringes than it does charm. Directed by Jonathan Eusebio, the film tries to find the gleeful intersection of love and mayhem, yet ends up as an unwelcome appliance left out in the cold, constantly reminding you of how much you despise its very existence. With an optional course on unoriginal storytelling, bland acting, and a perplexing absence of chemistry, you might be left scratching your head and questioning whether this was all just a punchline.

In the Lost Lands is the latest endeavor from Paul W.S. Anderson, a film that might just leave you questioning whether you accidentally wandered into a multi-franchise mashup gone wrong. This epic dark fantasy features the talents of Milla Jovovich and Dave Bautista. One could say it’s a thrilling adventure, but only if your definition of ‘thrilling’ includes cramming Van Helsing, Mad Max, and a handful of other unrelated properties into a blender and hitting purée. What we’re left with is a cinematic concoction that raises the age-old question: Was anyone in the room when all these creative decisions were made?

Havoc, the latest endeavor from visionary director Gareth Evans, hit Netflix on April 25, 2025, unleashing a whirlwind of chaos, gunfire, and visceral confrontations that fans of the genre have come to expect from him. Known for his knack for crafting intense action sequences, Evans returns with a vengeance, albeit with a narrative that occasionally falters under its own weight. The film, led by a formidable Tom Hardy, revolves around crime, corruption, and the blurred lines of justice within an explosive setting filled with gripping moments, albeit marred by some less-than-stellar production choices.

The release of Cleaner, a British action thriller directed by Martin Campbell, is a compelling reminder of why we should be wary of cinema that showcases an all-star cast splashed across a muddled plot. Marketed as a high-octane, edge-of-your-seat adventure, this film often feels more like a laboriously constructed thesis on how to squander a riveting premise. With Daisy Ridley in the lead role as Joanna "Joey" Locke, a former soldier turned window cleaner—who takes her autistic brother to her workplace amidst a hostage situation—you can almost hear the collective groan of the audience when they realize their cinematic experience is about to take a nosedive.

Inspired by my recent viewing of September 5, a 2024 historical drama thriller that chronicles the events of the 1972 Munich massacre from the perspective of the ABC Sports team covering the situation, I was compelled to revisit Munich, directed by Steven Spielberg and released on December 23, 2005. This film provides a profound exploration of the cycles of violence and vengeance that pervade historical conflicts. Based on George Jonas's 1984 book Vengeance, the narrative intricately weaves the aftermath of the Munich massacre, wherein the Palestinian group Black September executed a devastating attack against Israeli athletes during the Summer Olympics. By transcending mere retelling and delving into moral ambiguity, Munich raises profound ethical questions concerning national duty and personal conscience.