The Adjustment Bureau - (March 4, 2011): PG-13
Distributor: Universal Pictures
Opening Weekend Box-Office: #2 with $21,157,730
Domestic Box-Office Gross to-date: $50,148,575
Gross Revenue: $81,157,363
Budget: $62 million
Director: George Nolfi
Ever since he first charmed audiences as a troubled mathematics savant in 2007’s Good Will Hunting, Matt Damon has been nothing short of a Hollywood everyman, playing everything from an amateur thief (Ocean’s series), psychotic con-artist (The Talented Mr. Ripley), and fallen angel (Dogma, a personal favorite) to amnesiac super agent (Bourne trilogy), army private (Saving Private Ryan), and dirty cop (The Departed). To put it simply, Damon has earned the right to play whatever character he wants, and his new role as a senatorial candidate fighting for free will was sure generating a high level of audience interest. Yet, despite the high level of buzz and curiosity surrounding The Adjustment Bureau, Universal Pictures’ marketing campaign was surprisingly subdued; sure, you saw the trailer and a few billboards, but beyond that there didn’t seem to be many creative promotional techniques. Instead, the studio believed that the chief draw of The Adjustment Bureau (the unique premise), would be more than enough to fill theaters, especially since early critics were comparing the science fiction edge of the film to everyone’s favorite mindbender, Inception. With a supporting cast that included the always beautiful and charming Emily Blunt and the subtly sinister Terrence Stamp, I couldn’t wait for The Adjustment Bureau.
Based on the science fiction short story “Adjustment Team” by Philip K. Dick, The Adjustment Bureau introduces a reality in which a group of supernatural overseers work behind-the-scenes to control every aspect of our lives, making small adjustments and changes that are perceived as random occurrence to ensure that we all follow a pre-determined plan. Apparently, these beings have been around through all of history, and every time they have stepped back and granted humanity free will, disasters such as the Dark Ages, The Great Depression, or the Holocaust have occurred. The film starts as senatorial candidate David Norris (Damon) stumbles across this “adjustment bureau,” and in addition to threatening to “reset” (lobotomize) him should he reveal their existence to the world; they inform him that he can no longer pursue a relationship with the free-spirited dancer Elise (Blunt), as the pairing is not part of his “plan.” Convinced of his love for Elise, David decides to fight for the relationship; even though he is informed that he is potentially ruining both of their futures by senior bureau agent Thompson (Stamp). Convinced of the value of free will, both David and Emily must work to defy the “adjustment bureau” and forge a new life plan together.
As expected, the best part of The Adjustment Bureau involved Matt Damon, as he brings the right blend of humor and sincerity to his character, so much so that audiences immediately begin rooting for David, whether we want him to win an election or defy fate. Emily Blunt is also the perfect free spirit, and together the two develop a very believable chemistry that makes for some genuinely romantic scenarios that are a welcome change from some of the plastic interactions that plague romantic comedies. Aside for the romance, the supernatural and science fiction edge of The Adjustment Bureau is quickly engrossing, forcing audiences to ponder the deeper implications of choice. I doubt anyone will be looking for bureau agents the next time they misplace their car keys, but it is still and interesting premise to consider. Unfortunately, though the separate elements of romance and philosophy make The Adjustment Bureau a smart film, quality begins to take a dive when the story tries to integrate the two.
The Adjustment Bureau goes out of its way to make some truly foundation-shaking implications regarding free will and choice, but then doesn’t bother to fully explore the subject matter. Trying to introduce an entity like the “adjustment bureau,” explain their operations, and then superimpose their existence onto a love story feels largely rushed given the film’s running time. During one particular scene, David reveals the existence of the bureau to Elise, and she accepts it so quickly and without question that you cannot help but shake your head in disbelief. I liked the relationship between David and Elise, but it felt like the wrong vehicle to use to explore the subtleties of choice…for as much effort as was put forth to introduce a unique philosophical edge to film, it seems like The Adjustment Bureau could have done far more than just tell a tale of romance. In the end, I left the theater feeling disappointed, as I felt that far too many of the questions raised by the film went unanswered.
From a box office perspective, The Adjustment Bureau has slightly underperformed, opening up behind Rango with just over $20 million its first weekend. Critical reaction has been strong, but with the sheer volume of films dropping in March, it is unlikely that the film will see any large jump in revenue beyond its first few weeks. But even though The Adjustment Bureau may not fully live up to expectations, neither Universal nor Damon has much to worry about, as production budgets have been covered and fans have been pleased. Though far from perfect, if you are looking for either a genuine romantic tale or a mind-bending adventure, then The Adjustment Bureau is definitely worth seeing.
Overall Recommendation: Medium
