The Adjustment Bureau is a love story set against the back drop of lofty, metaphysical ideas. The film is very loosely based on a short story by Philip K. Dick and deals with the same recurring themes of free will and destiny found in his work.
Matt Damon plays David Norris, a rising star in political circles, who has just lost a bid for the New York state senate due to some embarrassing photos making the media rounds (he drunkenly mooned people in college). David hides in the men's room of the Waldorf Astoria while trying to come up with his concession speech. There, he meets Elise (Emily Blunt), a beautiful dancer hiding out from security after a crashing a party. David is inspired by her candor and free spirit, but fails to get her number before she splits. By pure chance, he pumps into Elise months later while catching the bus to work. He also happens to stumble on a group of mysterious men who have frozen his co-workers in time.
These dapper men dressed in well-tailored suits and fedoras are the Adjustment Bureau and they have been empowered by the "Chairman" to guide mankind on the proper path. Sometimes slight adjustments are called upon to correct the course. Whenever you lose your car keys, spill coffee, or forget to set the alarm clock, blame the Adjustment Bureau. They can also magically use ordinary doorways to travel great distances. The Bureau threatens to reset (lobotomize) David's mind should be attempt to expose or discuss what he's seen. They also tell him he can never see Elise again. As it turns out, David and Elise were never supposed to meet again. Their union was not meant to be and any potential romance between the two will lead to ruin for both parties.
Naturally, David disobeys the ominous warnings of the Bureau to be with his one, true love.
The Adjustment Bureau is entirely beholden to its outlandish premise. There are a lot of silly and arbitrary rules to explain the powers of the Bureau. Most of it won't make a lick of sense if you actually sat down to think about it. Luckily, the film doesn't get too wrapped up in wild concepts, instead choosing to focus on the romance between its leads. Matt Damon is likeable and charming enough to carry the movie as the protagonist. It's not as showy as his roles in True Grit or The Informant, but it’s a strong performance. As his love interest, Emily Blunt is sexy and free-spirited without devolving into the manic pixie dream girl archetype. However, you can pair up to of the most talented actors in the world and it won't amount to a thing without chemistry (The Tourist, anyone?). That isn't the case here as Damon and Blunt work exceptionally well together.
The supporting cast is great as well with Anthony Mackie as a sympathetic member of the Bureau who teaches David a few new tricks and Terence Stamp as a no-nonsense trouble shooter who is eventually called in. To no surprise, Mad Men's John Slattery fits right in with the retro-50's look.
Screenwriter George Nolfi, who worked on Ocean's Twelve and The Bourne Ultimatum, makes his directorial debut and does a solid job. He's helped greatly by veteran cinematographer John Toll, who gives New York City a slick look reminiscent of Inception. Many critics have complained that the stakes of the romance weren't high enough. That their dreams would be shattered was not enough to build dramatic tension. Personally, I found it more than adequate and didn't feel the need for something more melodramatic, such as their kid becomes the next Hitler. The one spot where Nolfi truly stumbles is the anti-climactic resolution. The film builds to an exciting foot chase as David and Elise jump from famous NY landmarks (Yankee Stadium, Liberty Island) with the Bureau doggedly on their trail. From there, it fizzles out as Nolfi scrambles to find a way out and chooses to go with the very definition of a deus ex machina.
The Adjustment Bureau could best be described as Dark City with the creepy goth atmosphere replaced by modern Manhattan chic. Despite a weak ending, the film is worth checking out due to its strong cast and great production values. As Philip K. Dick adaptations go, it's no Blade Runner, but it's way better than Paycheck or Next.
Rating: ** ½ (*****)
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