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|Index||392 reviews in total|
*** This review may contain spoilers ***
As a European I can't help feeling a bit nauseated when I saw this movie. What first seems to be a story of impossible love turns out to be religious pro-American nonsense. What this movie basically says is that GOD is on Americas side. So much so that he/she/it takes a personal interest in a young and upcoming politician (Damon) and alters events in he's life so that he can be groomed into becoming the next president. Because America is SO important that if the right president isn't elected, the world will go belly up. I can think of a few other nations where Gods intervention would be more needed. Like N. Korea, China, Iran to name a few. Didn't the world get enough "god is on our side" crap" when George W. Bush was in office? What's really sad is to see Matt Damon in this pile of crap.
*** This review may contain spoilers ***
First off, Matt Damon portraying a suit & tie congressman, I didn't buy
it and I was constantly aware of this throughout the movie, he never
looked comfortable in his suit (and certainly not running in it) I like
Damon but I think he was miscast in this movie. I would have gone for
someone more charming, like Hugh Jackman, Ewan McGregor or Eric Bana.
The idea of the office angels and their adjustments was interesting, making them look and operate like a big firm with a chairman was kind of clever but in my opinion it took all the mystery and charm out of it. In a couple of warehouse type scenes I thought there were too many of them as well, just standing around trying to look menacing. The riot- cop-angel types I also found unnecessary and quite silly, they seemed only to be there for the trailer to look more like a Bourne action movie.
Terence Stamp was excellent as always.
So, interesting idea, and maybe if done differently, a little adjustment to the story, casting or directing, could have made for a decent film.
*** This review may contain spoilers ***
The Adjustment Bureau: What I thought it was going to be: A sweet
sci-fi flick where Matt Damon is a chiropractor by day and a kickass
superhero by night, adjusting bad guys' faces with his awesome fists.
What it ended up being: A sh1tty chick flick where a whiny Matt Damon
"fights" angels (no joke) who are trying to keep him away from some
skank that he met in the men's bathroom. I wish I was making this sh!t
The first two minutes were quite promising and thus the movie earns a 4.The movie fails even as a chick flick. The script completely broke down towards the end - to a point where it was almost uncomfortable to watch.
*** This review may contain spoilers ***
¨All I have are the choices I make, and I choose her, come what may.¨
Ever since Adam and Eve we've never liked to be told what to do, but
what would happen if all our decisions were somehow manipulated by some
sort of power to make us act in a certain way without us not even
realizing it? In other words, we think we have free will and we believe
we make our own choices, but what if someone was making small
adjustments behind our backs to make sure we followed a certain path?
Those are the questions The Adjustment Bureau raises in this science-
fiction romantic movie. Rookie director, George Nolfi (known for
writing Ocean's Twelve and adapting the screenplay for The Bourne
Ultimatum), does a great job at combining two unrelated genres such as
science- fiction and romance and meshing them together to create this
thought provoking film.
Matt Damon plays a young politician named David Norris, running for Senator in New York. On election night while he is preparing his defeat speech he runs into Elise Sellas (Emily Blunt) in the men's restroom. There is a strong instant chemistry between them and they share a passionate kiss together, but are suddenly interrupted by security guards who were looking for Elise because she got caught crashing a wedding in the same building. David is so inspired by the kiss that he gives one of his best and most authentic speeches ever, but he can't stop thinking of Elise. Everything isn't what it seems and there are some mysterious people behind the scenes making sure everyone is following the right path. Richardson (John Slattery) and Harry (Anthony Mackie) have been following David everywhere and seem to know what decisions he is going to make and they try to manipulate them. We later find out that they work for a mysterious agency known as the Adjustment Bureau, who make adjustments in order to keep people on track so they won't deviate from the intended plan. David and Elise are not intended to be with each other, it isn't written on the books for them so Harry is ordered to keep him away from her so he will continue on the ¨right path.¨ Something goes wrong and the two meet again, only this time the agents have to make amends and end up telling David who they really are. David isn't willing to go along with the plan because he believes in free will, so the agency has to bring out their big gun, Thompson (Terence Stamp), in order for the pair to break up. The question now is: can love conquer predestination?
The movie isn't deep, but it does manage to leave you thinking quite a bit, and that is always a plus. It is original and intense. It also raises questions about free will, fate, soul mates, and predestination. We'd like to believe that all our decisions are based entirely on our free will, but even we admit that sometimes coincidences take place: for example we get on the wrong bus and run into someone we haven't seen in a long time. The Adjustment Bureau claims these ¨accidents¨ are actually planned most of the time and they serve to keep their subjects on the right path in order to fulfill their purpose.
The premise is good but the delivery poor, I liked the idea of a bureau that controls world destiny, but the dudes I saw in the movie could have been more slick more bad ass, when I finally settled down to accepting what was on the plate I realized half way through that nothing big was going to happen the story is simply about the bureau trying to keep Blunt's and Damon's characters apart. That was its main flaw. It din't have any twist at the end or anything BIG happening. And also the romance though its beautiful, I just din't understand how someone can fall in love so quickly so easily. These are the only problems with the movie.
Yet it is oddly enjoyable, since it is less a piece of science fiction than an old-fashioned romance between an aspiring politician and a successful dancer. Each of the leads is immensely watchable and genuinely talented and together they create real chemistry.
A pretty decent low key SF film. Nothing great, nothing earth shattering. But, if you want a break from all the action movies masquerading as SF, it's worth catching. I rate it 6 out of 10 for the original concept and performances.
Especially in Science Fiction, to have a great idea is not enough. You have to build a story around that idea, cause if you don't, then the whole picture feels like it's out of place. I think this move was originally a great idea that didn't work just because they didn't find a good story to tell around it. As a result, when I watched it I felt it was too unreal. When you are in front of a good sci-fi movie, you really don't stop to think if it could be true, but you think yourself ¨what an amazing story¨. That doesn't happen here. Here, the guys with hats, the doors, and the whole fantastic environment around a real city feels like out of place. Feels like if in Driving Miss Daisy suddenly the car flies away. Good crazy ideas with great stories: Matrix, Inception, Stranger than Fiction, Cold Souls, The 13th Floor and Dark City (among others). The Adjustment Bureau is not in that group. A good idea in a bad story.
We open as Matt Damon, a surefire candidate for senator, is
familiarized to us via a pretty uninspired hodgepodge that includes the
as-themselves cameos we now wait for in politically themed films, to
provide what might misguidedly be referred to as realism. But he loses
his lead and, rehearsing his concession speech in a hotel restroom,
discovers Emily Blunt hiding from security. Instantly attracted to each
other, of course, they kiss before being interrupted, of course. But,
inspired by this stranger's generic advice, he makes a truly candid
speech that revitalizes his ratings. But he ends up falling for that
fleeting woman, becoming increasingly distracted from his career,
despite mysterious men collaborating to keep them apart.
Yes, they're agents of fate itself, so the lovers must either literally outrun it, or accept a predetermined path, which, ironically, the story unashamedly does almost from the get-go. And in due course, a characteristically paranoid Philip K. Dick tale about the easily broken textile of reality is reassessed as a comforting parable about true love's fortune and the correctness of the divine plan. This reassessment aspires to induce the intense visceral emotion of a high-flying romance that exceeds time, space and the natural order of things, but George Nolfi's writing is short of the crisp, relevant impact such material needs, which it isn't anyway when you already have a brilliant Dick story there's no legitimate worldly reason to substitute! And yet, the film still uses Dick's name, basically as an advertisement. Nolfi takes Dick's idea and runs, letting go of pages along the way, until he's left with only a torn title page, and a strained adjoining of two reasonably agreeable, remarkably featureless individuals that rouses none of the profound, awe-inspiring excitement essential in a storyline so deep in philosophy and metaphysics. Their rebellious romance never even moves much past the convention of the contrived encounter of two potential lovebirds in serendipitously unusual circumstances, followed by the contrived interval of mopey separation. It's but one de rigueur element of a script that grapples for a consistent shape, even resorting to Magical Negro and Retro Chic clichés, to significantly be about more than beautiful people fleeing from badass-looking bureaucrat-style villains through an expressive cityscape.
After the initial disappointment in the film's resorting to manipulative schmaltz, its social implications are no surprise. Whenever Blunt and Damon are broken away, he takes for granted that, unless he can find her again, he'll never see her again. Sure, it's hard to find a woman in NYC when you know nothing more about her than her first name. It's a comparatively trouble-free achievement, however, to locate a superstar Senate nominee. But regardless of the movie's depiction of Blunt as an independent, progressive chick, she never takes any enterprise in any way to reconnect with the love of her life, nor does it ever dawn on anyone that she could. When Damon loses her number, she sulks for three years! When he's forced to forsake her in a hospital, she waits, brokenhearted, for 11 more months. This one-sidedness is made unmistakable when a divine courier praises Damon for his determination against all chances and then praises Blunt for, well, going along. This rare dud in the fight-the-system disposition of films portrays itself as a tribute to forging one's own future, provided, namely, that you happen to be a guy.
But the point is that Dick's musings on celestial formalities have a mischievous, sardonic tone, and Nolfi's gratuitous revamping is less effective. The trilby hats, which grant extraordinary powers when worn by the members of the Bureau, and later the hero, are particularly difficult to take seriously! They're incapable of crossing interdimensional doorways that convey them instantaneously across Manhattan unless they're wearing, yes, their hats. But to be fair, on the whole, the script forces gullibility not with its offbeat imagination but with its dull particulars: We can't buy that security is in dogged search of this clearly harmless uninvited guest, nor, to name another plot point, are we persuaded that Damon's career would be wrecked by media hype about him mooning his college friends. If you're going to botch Dick, at least be as consistent as Dick.
This movie is for those who want to have their fate both ways. The movie sustains the notion that an omnipotent "Chairman" has a plan for our existence, yet this plan is not so inflexible that it excludes freedom. And yet when we seem to bring that self-rule to bear, we find we're still sticking to a master plan, one so vast even the "adjusters" working at Earth level can't keep a handle on it. Deus ex machina performs such a key function in the way events resolve that it's challenging to leave feeling anything other than resentful, like a potential piece of brilliance has been unkindly run off with.
The Adjustment Bureau is set in modern day New York as Matt Damon is on
his way to winning a Senatorial seat. Damon meets a fantastic
ballerina, Emily Blunt, and must fight Fate itself to stay with her or
lose her forever.
Matt Damon and Emily Blunt were excellent choices for these two roles. Damon shows that he is able to be a strong fighter and a romantic. Emily Blunt shows how she can play the strong survivor and another strong fighter. These two performed their roles almost flawlessly.
I gave The Adjustment Bureau a 9/10. The acting was superb for most of the movie. However, there was the occasionally situation that seemed almost awkward. The movie is very intriguing and full of suspense. The mysterious nature of the Adjustment Bureau keeps the audience at the edge of its seat the entire movie. After the curtain falls, many will be left considering the conflict of fate and free will. Overall, this is a very entertaining and thought provoking family appropriate movie.
I had mix feeling after watching this and at times during it. Bascally
it a love story mixed with sci fi. You could easily perceive this film
as cheesy and ridiculous. The whole concept of angles dressed in 1940s
noir wondering the streets of new york with dairy books in glued to
their hands can be considered to be Far fetched.
The love element is fine. Matt Damon and Emily Blunt make a fine couple and the romance between them isn't mushy. The film runs at a steady pace with only the ending seeming rush. These angles who duty it to make sure that everyone stays on the right path in life, spend most of their time running after Matt Damon and failing to keep him a way from Blunt.
The Ending was a let down. Of course it all worked out for the couple but a more negative ending would of been more suited and brought a uniqueness to the film. Instead we get the most predictable ending Hollwodd could of made up.
Overall, Adjustment Bureau is a entertaining film with fine acting. If you take the concept for what it worth then no doubt you will enjoy it.
I guess casting is for the viewer like naming a new baby for the
persons who meet the baby: one cant's compare what it sees to what
might have been. The movie it is what it is with these here actors. But
this movie just gave me the feeling of bad casting. The actors are too
sturdy, too... something for their parts. Maybe it's the subject's
fault, all that talking about adjustment made me wonder how would it
have been if someone would have adjusted the cast.
Besides this sensation, the idea is interesting, yet it fails to create an atmosphere, an universe. Matrix had that, for example. There are no important buildings, places, landscapes that would fix the cornerstones of such an universe. It's a miss.
I also resented the sharing of human history in slices, out of which some were watched by these agents, others not. Sounded too manipulative, why assume again that the humans by themselves are bad and only guided by mysterious others can be better? Why not the other way, since it's fiction? The bad humans idea is so used that it's all worn out...
I cannot compare it with the written story(never read it), so I will not judge the book from 1954, but the movie from 2011. And for this age, the ending is also a fail: announcing the winners like in a game show, talking about fighting for the free will, it's all so old and corny.
We have the "fabric of our universe" idea, the "guardians" or "watchers" idea, the multiple choice destiny idea, not many of them logically explained, even in a fictional way.
And what's with the hats? We have them at René Magritte, we have them in Fringe..now here. Anybody care to explain more about the hats obsession or symbolism?
These being said, I had the impression of a movie who wanted much, but settled for less.
It was inevitable that there would be comparisons with The Adjustment
Bureau and last year's big hit Inception. Both are about changing time
, perception and fate but there is one big difference between both of
the films and that is that The Adjustment Bureau is better .
This film is not complicated at all , despite being far fetched and at no time do you think " What the hell is going on here" as i did with Inception. Sure , it does not have the fantastic special affects but to be honest , affects are not good when the plot is a mess.
Matt Damon plays a politician who meets a beautiful woman and it's love at first sight. The problem is the Bureau can't let it progress because it's not part of the plan.
I really enjoyed Matt Damon's performance as well as Emily Blunt's and Anthony Mackie's . It's the kind of film that does not patronise the audience with a plot that needs several viewing to understand it and it's not too long either.
Well worth watching.
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