Table 19

No wedding is complete without a little drama, and this wedding is no exception.

There’s always that one table at a wedding that is crammed full of weirdos who have been invited out pity, and that is the very subject of this film. Table 19, as you may have guessed by now, is that such table.

From a married couple in turmoil to a teenage boy who’s trying to bag himself a girlfriend, this table has it all.

Though the plot has a great concept behind it, it never seems to reach its full potential, which is no more helped by the often sloppy acting, which is only marginally saved by Anna Kendrick taking centre stage. 

A film that’s entire focus is narrowed to a single table within the wider environment of a wedding is a difficult task and, unfortunately, one that I cannot say was successfully achieved within this attempt, which at most could be described as an experimental defeat.

The Accountant

If there’s one thing that’s for certain, it’s that this film is not a typical attempt at a Hollywood action. Quite the contrary in fact. 

Ben Affleck takes centre stage as a moral murderer with a very unusual talent for mathematics and an accompanying diagnosis of Asperger’s; not exactly the usual recipe for an action hero.

Remarkably, Affleck convincingly portrays the traits of Asperger’s syndrome with fascinating ease; negating the need for any potential stereotypes that are often associated with a misunderstanding of the syndrome. 

Though Affleck does delight in his performance as the main focus, the Accountant, Christian Wolfe, the partnering with Anna Kendrick’s character, Dana diffuses some of the dramatic tension that is simmering under the plots surface, and brings a sense of normalised humour to the table. A trait that is very easily forgotten in the midst of action. 

The Accountant is not only truly refreshing in its inauguration, but provides moral sensibility with a wonderfully written script that has a perfect compromise of dramatic action to heartfelt reality.