Hollywood clearly can make movies like The Adjustment Bureau, and that's why it's so depressing that they so seldom do. For here is a film that is clever, thoughtful, and intelligent--in addition to being snazzy, sparkly, funny, exciting, and romantic. It is a good old-fashioned entertainment, yet is simultaneously provocative and challenging. We can do this kind of movie. We do it better than anyone in the world. Yet, more often than not, we decide to do Fast Five or Transformers 3-D instead, and that is our loss.
It is the directorial debut of George Nolfi, whose previous credits include the screenplay for the much-derided (though not by this writer) Ocean's Twelve and the third Boune movie (he co-wrote with series regular Tony Gilroy). His screenplay here is based on the Philip K. Dick story "Adjustment Team," and as with the best of Dick's work, it is science fiction in the best sense--keenly interested in ideas rather than ray guns. Nolfi introduces us to New York congressman David Norris (Matt Damon) in an opening montage deliberately played like a campaign ad; the smiling, handsome young Brooklyn politico is seemingly poised to float into a New York Senate seat. But Norris has a bit of an impulse problem, and a sketchy past that comes back to haunt him in the campaign's eleventh hour. He ends up losing the race, but the night isn't a total bust: as he's preparing his concession speech, he meets Elise (Emily Blunt), a beautiful dancer, and the spark is immediate. She disappears, but he is inspired to give a no-nonsense takedown of politics-as-usal that becomes a viral sensation and immediately resurrects his political possibilities.
But this is where it gets complicated. Due to circumstances too complicated to summarize here, Norris becomes aware that he is under the surveillance of a team of "adjusters"--dark-suited men in fedoras who occasionally step in to ensure that the lives of everyday people progress according to "the plan," as set forth by "the chairman." Are they angels? Is the chairman God? Perhaps; the movie is too interesting to do more than hint. What is certain is that David and Elise meeting again and falling in love is not part of "the plan," and if David bucks the plan, there will be consequences--particularly once Thompson (aka "The Hammer") takes over the case, and since Thompson is played by Terence Stamp, we're inclined to believe he means business.
On some level, this could all be seen as fundamentally silly. The dialogue of the adjusters, who are played as varying levels of middle managers (at one point, John Slattery's Richardson shrugs "It's above my pay grade"), is full of talk of getting "a briefcase" for "a reset" or even "a full recalibration," since the "ripple effects" are too great; the adjusters also have the ability to use regular doors to portal from one part of New York to another, as long as they have on their magic fedoras. None of this should work, but it does, primarily because Nolfi basically takes the story seriously, but still maintains a sense of humor that punctures the deadly solemnity that so often sinks this kind of picture.
Much of that humor is found in the terrific relationship between Damon and Blunt, who couldn't be better together; their chemistry is wickedly good, as it must be for the story to work, and when he says "holy shit" at the end of their first scene, you can't imagine a more appropriate response. Blunt is a perpetually underrated actress, but she puts across exactly the right combination of romantic longing and bad-girl recklessness; you don't question for a moment that he would spend three years hoping to find her again. Damon has, quite simply, never been better; between his dashing romanticism, good humor, and stubborn-man-of-action finesse, he (for the first time) legitimately recalls Cary Grant.
The supporting cast is aces (the wonderful Anthony Mackie and always-welcome David Kelly provide able support), and Nolfi's direction is brisk, confident, and effective. He does so many things so well, all at the same time, that the film is a minor miracle (if you'll pardon the expression)--it asks the eternal questions of free will within religious dogma, creates a genuine rooting interest in a romantic coupling, and includes an electrifying chase sequence where you actually care about the outcome. The fact that all of this not only works, but works so well, is downright thrilling.
The VC-1 encoded transfer lovingly captures the cinematography of the great John Toll (he lensed The Thin Red Line and Legends of the Fall, among many others), which mostly works within a cool, blue/black/grey color scheme. But the muted colors do not translate to a dull visual presentation; black levels are deep and rich (particularly in a nighttime sidewalk conversation between Damon and Blunt), skin textures are lovely (especially in the PG-13 sex scene), and detail work is impeccable--note the gorgeous, early wide shot of Damon's solitary figure in a huge hotel hallway. There is some minor crushing here and there, but it's fleeting; overall, it's a crisp, clean, good-looking image.
The English DTS-HD 5.1 soundtrack is a bit more low-key than you might expect, but it is an effective one--dialogue is smooth and clear, immersion is subtle yet present, and the occasional shock sound effects are jarring and scary. Thomas Newman's stirring score is nicely separated across the soundstage as well.
French and Spanish Dolby Digital 5.1 tracks are also included, as well as a Descriptive Video Service track and English SDH, Spanish, and French subtitles.
Writer/director George Nolfi speaks in a low, almost conspiratorial tone in his Audio Commentary, but it's not a low-energy track; he's an interesting and thoughtful filmmaker, with much to convey on the film's themes and tonal shifts, as well as the nuts and bolts of production.
The six Deleted and Extended Scenes (6:54 total) don't add much, though we do get to see a brief, fun role by Lost's Daniel Dae Kim that didn't make the final cut. "The Labyrinth of Doors" is an interactive map that allows the viewer to navigate through the "doors" of the film's New York locations and watch short behind the scenes featurettes or clips at each; it's a cool feature, if a bit cumbersome. "Leaping Through New York" (7:36) is a closer look at the film's location shooting and production design; "Destined to Be" (4:51) examines the love story, via clips and interviews (primarily with Damon and Blunt). Finally, "Becoming Elise" (7:08) is a fascinating peek at Blunt's extensive (and exhaustive) dance training for the role.
The disc is BD-Live and D-Box enabled; it also comes with a second stand-def disc of the film, and a Digital Copy code to download online.
The Adjustment Bureau is not a timid movie; it is one that you have to give yourself over to, and go with. It risks, quite frequently, looking rather ridiculous. It is not. It's one of the year's best films.
Jason lives with his wife Rebekah and their daughter Lucy in New York. He holds an MA in Cultural Reporting and Criticism from NYU. He is film editor for Flavorwire and is a contributor to Salon, the Atlantic, and several other publications. His first book, Pulp Fiction: The Complete History of Quentin Tarantino's Masterpiece, was released last fall by Voyageur Press. He blogs at Fourth Row Center and is yet another critic with a Twitter feed.