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|Index||24 reviews in total|
(I can't believe the negative comments I have read on this page. I mean,
sure, peoples opinions are allowed to differ- thats what makes this world so
great blah blah blah etc... but this film is incredible and it would be a
shame that someone would disregard renting it out on video because someone
had bad-mouthed it here.)
This film is set firmly in Egoyan country. We have dysfunction, we have recorded media, we have beautiful shots, a wonderful score, great dialogue, fantastic use of silence (watch out for that one) and overall- you can feel an almost religious intensity beaming through the celluloid. My memory of this film consists of much more than just a plot- it is the warmth, the colours that stick with you too. One more thing... Tarkovsky said that films best asset was its ability to sculpt in time. Egoyans measured rhythm is hard to resist (obviously not for some people).
It seems to me though, that the complaints here are not to do with the films form. Of course it is well made. They have problems with the script, or at least the order of things. Well, for me- the chaos and strange order of things in this film keeps it gripping- apart from the fact that you never know what is going to come next- isn't this half chaotic order a better rendition of reality than most? The content is also 'strange' and not really in keeping with 'popular taste'. So if you are easily offended, or more at home with Spielberg- then please feel free to stick to him. But this is brave, sumptious, disturbing, invigorating, and beautiful territory. I was pleased to visit it.
P.S. Elias Koteas' performance is probably one of my top five favourite performances ever, up there with Takeshi Kitano in Bad Cop and Christopher Walken in King of New York. Stoic, tragic, he hardly puts a foot wrong.
this early atom egoyan film is truly the best of his movies that i have seen, and they are "exotica", "felecia's journey", "the sweet hereafter", "speaking parts" and of course "adjuster". egoyan has a very special gift and that is the way he tells the stories, a way that forces the characters to do things you wouldn't think they'll do, or do them in a very un-expected way. egoyan drives you into the story using all the tools included in a film director's case: beautiful, almost dreamy photography, haunting mysterious music,careful attention to movement and color. that is the case with all his films but in "adjuster" this unique style of his really comes to a peak. the strange story of an insurance adjuster being eaten inside by guilt and fear seems to take place in a world where morality and good are disappearing slowly, living the honest man to burn is his own hell, created by his inability to read the reality that lies before him. this is always a very good story material for films, because it allows the filmmaker an investigation of the psyche, tormented, searching, afraid and yet unable to tie all ropes together to make sense of the world. i recommend watching "the adjuster" and then watching it again after a day or two. if you dig movies, you will not forget this one. an exceptional experience.
The one thing I can always count on from Atom Egoyan is an interesting film. This is a brilliant, and very dark, comedy with a sensationally twisted plot, fabulous cast, and great cinematography. Egoyan's use of light is excellent, as is the wonderful setting and scenery. This film is so imaginative that it's beyond a story told on the screen...visual poetry. And the frightening thing is that as good as this film is, it's not even his best effort. The pace was a bit slow at times, and at times the plot seemed to stagger a bit. His film-making was much sharper in Exotica, which is my personal favourite. But the plot is so well devised (odd and twisted, and full of intricate details that are hard to really absorb the first time through) that it makes up for any lack of quality. Elias Koteas is really good in this; his best role save perhaps Fallen, and he outshines Arsinee Khanjian who didn't quite feel up to par. My favourite role in the film, however, was a fabulous performance by Maury Chaykin as an unbalanced former football player. The gasoline scene is the best in the film, and Chaykin's expression and lines are priceless. As well, look for Don McKellar's excellent, though unfortunately small role, as Tyler (the rookie censor). He's absolutely hilarious, and his delivery of dialogue is nothing short of brilliant. All i all, it's not Egoyan's best effort, which means it still stands above most films. A really good quality indie-film, with a *very* original plot, quirky and memorable characters, and a strong cast. An easy 8/10.
Words cannot express how much I love The Adjuster. It's actually been a
while since I saw it, so I picked it up again, and well, fell in love
with it once again. It's just that good.
The cast consists of a Canadian dream cast du jour: Elias Koteas! Don Mckellar! Maury Chaykin! Arsinée Khanjian! They're all DYNAMITE here, playing some low down creepy characters here.
Koteas plays the titular Adjuster in the movie, looking after people who've lost their houses in a fire. Khanjian plays his wife, who makes a living from being a censor for the government (!!), Don Mckellar plays the new censor that was hired who catches on very quickly how to move up in the world. I'd rather not get into Maury Chayken's character if you don't mind lol All of these characters intermingle with each other. There's not a huge story to be found here, more of a character study. And what a study it is, as you find out a little more about each character with every viewing, with some mysteries yet to reveal (What WAS with the Podiatrist?) Can't recommend this movie enough. I have to say this is Egoyan's crowning achievement, and I've been waiting for him to replicate it. (Instead, he's been giving us crap like Felicia's Journey)
Atom Egoyan is an absolute genius, but I find it somewhat difficult to
discuss his films as they are so complex. He seems to make the kinds of
movies where you walk out of the theater after it's over and all the parts
are clear in your head, but you can't quite piece them all together. But you
can't help but try. Sooner or later, everything falls into place, and
sometimes it doesn't. Either way, Egoyan makes you really think about a lot
"The Adjuster" is about an insurance adjuster who helps victims of house fires get money from insurance companies. There is a really great parallel drawn between the adjuster, Noah, and Robin Hood. He quite frequently shoots arrows with his bow at a billboard sign that says "Sherwood Forest". He is essentially taking money from the rich insurance companies and giving it to the poor victims of fires. We also have Noah's voyeuristic wife Hara, who is a film censor for porn flicks. She films what they censor with a video camera so that her sister can see what she does, as she has always shared everything with her sister. There is an extreme sense of bareness of the characters lives in the film. This is reinforced by the vast, open, almost desert landscape around the suburb. They own the only house in this particular suburb, and it is in fact a model house. Even the books on the bookshelf inside are fake. All this seems to reinforce the lives that the characters live. This is a definite achievement from a cutting edge director.
Theres so many threads to this movie you have to see it more than once to get the full effect. Elias Koteas gives a subtly painful performance as Noah, as you begin to see just what a complicated life he really has. His wife and sister in law are just as multilayered as he is. The themes of impulse and denial run throughout the picture, particularly in the film makers life where him and his wife act out their sexual phantasies with a minimum of shame. A great work of art by a great director. definitely not mainstream in scope or material. Maybe the quietest movie ever made about the nature of arousal
This very quirky film by director Atom Egoyan is about an insurance adjuster Noah, played by Elias Koteas. He is very empathetic to the victims of fires to their homes, and all of his clients end up staying in the same motel complex until their claims are settled (which never happens). A parallel story is about Bubba and Mimi, a rich couple who act out fantasies in public (she befriends him as he plays a sleeping derelict on the subway, she's a cheerleader for the football team-she is not a very young woman). The acting is fine, particularly Bubba, who is played by Maury Chaykin. I've seen him in many other projects, I think he'll be familiar to you. My problem is the story is weird for weird's sake. Who'd want to know these people? They are creepy, and the film becomes creepy. Its cutting edge, but I wanted better character development. I felt it just didn't deliver. If you get the DVD, you'll be rewarded. Included are two things which I really liked. One is the almost 20 minute film "En Passant", starring Maury Chaykin and Arsinee Khanijan, who plays Noah's wife in "The Adjuster". It moves along at a good pace and tells a simple, but good story. The other thing is an interview with director Atom Egoyan. He is articulate and I found he is true to his craft. I also realized he directed the excellent "The Sweet Hereafter". I'd recommend that movie before you touch this film. But, if you see the DVD, buy it for the extras. Check the film out. I didn't love it, but others here did.
Canadian filmmaker Atom Egoyan redefines the black comic satire of his earlier films ('Family Viewing', 'Speaking Parts'), but for all its dark wit and visual sophistication the effort doesn't add up to anything more than a cast of unattractive characters in search of a plot. These include, in ascending order of eccentricity: a handsome insurance agent who uses his control over the victims of catastrophe for sexual favors; his wife, a government film censor who secretly bootlegs violent porn movies for her apathetic sister; a filthy rich couple with a fetish for enacting elaborate exhibitionist fantasies; and so forth. The film is disturbing, perverse, sporadically funny, and totally original, bit also inscrutable to the point of confusion: it gives the impression of depth without clearly saying much about anything at all. Egoyan is a filmmaker of obvious and distinctive talents, but he needs (once again) to build a stronger story around his strange characters.
Agree with the previous post.. this film is extraordinary and I'm
amazed at the negative reactions here. I would rate it as my favourite
film of all..
It's an incredible and subtle meditation on what means to be alive, to be human, to love. To be human and to be confronted by this fragmented, alienating, disturbing modern existence .. with our lives and interactions largely filtered through technology and our experiences so far removed from those of our ancestors and those before.
I was provoked and amazed by this piece of work - and I'd urge anyone who wants to be challenged to see it.
At the center of Egoyan's dark journey into moral and materialistic
devastation is Elias Koteas' Noah, the mortal bearing the film's title,
carrying its weight -- certainly delivering the goods in what must be
considered his finest ninety-plus minutes on film. He never disappoints
viewer (his cameo turn as "the Kisser" in LaGravenese's LIVING OUT LOUD
a landmark in my memory simply as a point of relief, an answered
Mychael Danna's score and Steven Munro's sound design push THE ADJUSTER past the dream world threshold, unraveling it strand by strand to catch and spin in the viewer's subconscious. This is one you wont shake easily. Egoyan magic.
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