FILM: THE ADJUSTMENT BUREAU

Posted by Primary primate on Mar 5, 2011 in Film, Reviews | 2 comments

Review By Duncan McLeod

Director: George Nolfi

Cast: Matt Damon, Emily Blunt, Anthony Mackie, John Slattery, Shohreh Aghdashloo, Michael Kelly, Terence Stamp

Synopsis: Do we control our destiny, or do unseen forces manipulate us? Matt Damon stars in the thriller The Adjustment Bureau as a man who glimpses the future Fate has planned for him and realizes he wants something else. To get it, he must pursue the only woman he’s ever loved across, under and through the streets of modern-day New York. On the brink of winning a seat in the U.S. Senate, ambitious politician David Norris (Damon) meets beautiful contemporary ballet dancer Elise Sellas (Emily Blunt) — a woman like none he’s ever known. But just as he realizes he’s falling for her, mysterious men conspire to keep the two apart. David learns he is up against the agents of Fate itself-the men of The Adjustment Bureau-who will do everything in their considerable power to prevent David and Elise from being together. In the face of overwhelming odds, he must either let her go and accept a predetermined path.. or risk everything to defy Fate and be with her.

Review: Damon, sans guns, leads this film in a very entertaining direction. The onscreen chemistry between he and Blunt was palpable. The producers managed to assemble a fine ensemble cast here in Damon, Blunt, John Slattery (MAD MEN), Terence Stamp and Anthony Mackie.
This film is very much a mash up of DARK CITY, THE MATRIX and a swathe of romantic dramas. The undercurrent of romance is strong here. That is not a problem as there is plenty of action and spectacle to entertain other audience members not interested in the love story.
The script is well devised. Despite the Sci-fi themes, there is plenty of humour and some nice contemplative moments. Writer George Nolfi devised this screenplay from a short story by Philip K. Dick. Coming of the strength of BLADE RUNNER, MINORITY REPORT, TOTAL RECALL &  A SCANNER DARKLY, all from the same author, this was yet further solid foundation material that translated on screen.
Nolfi has an intimate knowledge of how Damon works. Having penned screenplays for both OCEAN’S TWELVE & BOURNE ULTIMATUM, there is an established working relationship at play here. This is Nolfi’s first turn at directing and he has hit the ground running. Perhaps it was his time spent on set at the aforementioned films along with THE SENTINEL but regardless of where the teaching came from Nolfi has soaked up his surrounds and delivered a polished piece.
Increasingly, the calibre of supporting roles has been improving in tent-pole films. Now there are less and less actors referred to as “that guy from that show or that movie” and they are instantly recognisable. John Slattery and Terence Stamp were brilliant choices. Stamp has that distinctive voice that commands attention and gives of a sophisticated air. Those characteristics leant themselves well to his character Thompson. The ‘Mr Fix it’ role suited Stamp well and was a large part of the DARK CITY attribution. Despite looking as if he’d simply walked off MAD MEN and onto the BUREAU set in character, Slattery still entertained.
The cat and mouse interplay between Slattery’ s Richardson and Damon’s Senator Norris was nice, it helped the film roll along at a good pace. Seeing Damon as a Senator was a pleasant surprise. There was a particular scene early in the film where Norris delivers a speech to his supporters that is honest, humorous and perhaps the cleverest passage of writing in the entire movie. The conviction in the scene could only be delivered by a handful of actors in American cinema. Tom Hanks is one that springs to mind. Damon handles this role with the weighted importance of BOURNE or GOOD WILL HUNTING.
Blunt is a fine actress and her fragile tenderness and emotion are used effectively here. Blunt first cut her teeth in DEVIL WEARS PRADA as a bitch. She played the damsel in THE WOLFMAN, and here her lighthearted warmth is on show, melting both Senator Norris’ heart and that of the audience. There is no denying the chemistry between Damon and Blunt. This is their first onscreen coupling and given the outcome it won’t be their last.
Mackie is credible and suitably animated in his delivery. His character Harry is charged with the most interesting arc of all of the members of the Adjust Bureau. Mackie’s screen credits include MILLION DOLLAR BABY and NOTORIOUS. This is his largest and most interesting character to date.
Full credit must be given to the art department and Cinematographer John Toll (BRAVEHEART). The look of the film was elegant and sumptuous long shots were audience pleasers. The grand, colourful shots were almost a character unto themselves, adding an extra level of life to proceedings.
Editor Jay Rabinowitz (8 MILE, REQUIEM FOR A DREAM) knows how to cut a film. The pace was brisk and unflinching when required.  Rabinowitz keeps the pace upbeat and the scene cuts are well handled.
Where this film falters is its insistence in pushing religious sentiment. It is all well and good to suggest that God controls our fate. Thinly disguising the reference by naming it something else ominous was a weak choice. If there has to be religious content, the audience doesn’t need to be pandered to. Call God, God. It’s that simple.
Thankfully there’s some redemption from this stupidity. There are also some scenic outdoor moments and street scapes that illustrate the vibrance of New York beautifully. Nolfi delivers a punchy package. THE ADJUSTMENT BUREAU is a fun romantic and thrilling piece of cinema. Perhaps it will forge a new sub-genre. It is by no means a BOURNE film. It is however a film that plays into the hands of the romantics, and lovers of Fedoras everywhere.

SEE HOW IT RATED ON ROTTEN TOMATOES.COM HERE