Action, love, death and rebellion. This week, you can get a taste of each.

Here’s our roundup.

“Andor Season 2”: You realize you’re watching something special when, after finishing the 11th episode in a 12-part series, you delay streaming that final episode because you really don’t want it to end.

Disney+’s last season of the acclaimed “Rogue One: A Star Wars Story” prequel series is something to savor like that, an example of multifaceted worldbuilding that stresses the importance of complex character arcs and terrific writing. It’s layered with intrigue and full of intricate rebellious acts and is relevant to today’s turmoil and troubling times. Showrunner Tony Gilroy redefines an overstuffed, often overcalculated “Star Wars” universe that has produced some standouts as well as some rote duds. This character-focused production charts Cassian Andor (Diego Luna) and his transformation from a wayward, selfish thief to a major player in the Rebel Alliance.

In Season 2, Andor becomes more entrenched in the cause, seeking to overthrow the Galactic Empire’s covert machinations as they Storm-troop their way closer to making that Death Star. Boo! Hiss! These fascists will stop at nothing, even stripping one planet of its critical resources while subjecting its inhabitants to something unfathomable.

Season 2 brings back the secretive chess-like moves of rebels as they spy and inform from high places — senator Mon Mothma (Genevieve O’Reilly) and antiques dealer Luthen Rael (Stellan Skarsgård) — but it also keeps tabs on the evil ones with power and a wickedness to want more — the Imperial Security Bureau’s cunning and fervently ambitious Dedra Meero (Denise Gough, who verges on a snarl in every scene, and is deserving of an Emmy nomination for being so diabolical), her malleable pseudo-boyfriend Syril Karn (Kyle Soller) and director Orson Krennic (Ben Mendelsohn, the human version of a cobra).

There are many others in the cast, including mechanic and scrapyard owner Bix (Adria Arjona) who wrestles with big changes this season with the help of Cassian.

Why “Andor” remains a cut above other entries in the “Star Wars” empire is that it values dialogue and characterization as much as it does suspense and special effects. But it also deals with about the realness of sacrifice and rebellion. Characters die here, and not just the villains. While this season does jump ahead in years since Gilroy tabled making it a multi season series, it never feels rushed nor truncated. Certainly, it gives even more complexity to “Rogue One.” What a force this series has truly been.

Details: ???? out of 4; debuts this week, three episodes drop every week on Disney+.

“The Accountant 2”: The best moments in this jaunty sequel to the 2016 surprise hit don’t pertain to the action scenes, although they’re thrilling and all. Rather, it’s the bantering and squabbling between estranged brothers Christian Wolff, (Ben Affleck), a brilliant incognito forensic accountant with autism, and Brax (Jon Bernthal), a cocky hitman who likes to strut around in his black boxer briefs, that energizes director Gavin O’Connor’s entertaining guilty pleasure. While the bros’ back history did get explored in the first outing, it doesn’t matter if you lack that context. You’ll get the gist from various interactions such as when Christian and Brax toss back beers atop his Airstream and then bond and brawl at a country Western bar. The two reunite after Christian gets tracked down by the U.S. Treasury Deputy Director Marybeth Medina (Cynthia Addai-Robinson) to investigate the murder of treasury agent Ray King (J.K. Simmons). Both try to hash out how a family photo figures into the carnage and what role a mysterious woman (Oakland native Daniella Pineda) at the crime scene plays in it. Meanwhile, a team of techie whiz kids again work their special computer magic (another highlight) at a hidden institution and show up the Luddite adults. Affleck does a fine job (a matchmaking event is a high point), but what makes “The Accountant 2” better than it should be is Bernthal, a roguish charmer who can talk calmly, with just a trace of menace, even though he’s been responsible for a pile of bloodied corpses. He bounces off the more deadpan Affleck like a true comedian and it’s then that “Accountant 2” hits its numbers, even exceeds them.

Details: ??? out of 4; opens Friday in theaters.

“The Shrouds”: David Cronenberg remains as bold and pioneering as ever at 82. Need evidence? Check out his latest surreal Rubik’s cube that covers his favorite topics — death, technology and, of course, sex. Once again, it makes for a kinky and weird experience, a head trip that left me befuddled about its ending. The bizarre is indeed Cronenberg’s romping grounds and this time he’s funneling the weirdness toward grief and mortality. His main character is dapper Karsh (Vincent Cassell), creator of a GraveTech software that provides the bereaved with a front row seat to gawk at the decomposition of their loved ones bodies, now encased in a shroud. Ick is right. Vandals strike key graves on the manicured grounds that Karsh oversees and the brazen act accelerates a dormant paranoia inside of him that’s almost in step with the alarm bell ringing inside his conspiracy-spouting sister-in-law Terry (Diane Kruger). Both, along with Terry’s unstable but techie smart ex-husband (Guy Pearce, getting all twitchy) are still grieving Becca (also played by Kruger), who died of cancer. Cronenberg’s solemn yet sexy portrait of the stalled stages of grief (he wrote it in the wake of his own wife’s death) illustrates the lengths we go to try to preserve the departed and how desperately we search for answers to personal questions that haunt and often evade us. It makes you feel like you’re in a dreamy fugue state and is lined with dark flashes of humor — a blind date sequence is vintage Cronenberg and utterly macabre. Kruger juggles both roles like the pro she is while Cassell exudes a cool calmness that belies the turmoil inside. Better than all that is just how quintessential Cronenberg “The Shrouds” happens to be. How lucky we are to have this boundary pusher still thinking up such bold and provocative films.

Details: ???• out of 4; opens Friday at AMC Mercado, Santa Clara; the Roxie, San Francisco, the Cinemark Century Daly City.

Contact Randy Myers at soitsrandy@gmail.com.