Upon recently deciding to dig out
a copy of The Adjustment Bureau, the
first time I’d seen it since its theatrical release, I was struck by the
statutory quote from a critic on the box cover, stating “Bourne meets Inception’.
This comparison struck me as somewhat erroneous, besides the fact that Matt
Damon (of Bourne fame) stars in the film and there are certain Inception-lite psychological
elements to the premise, they have little in common. The Adjustment Bureau lacks the same kind of frenetic kineticism and
mystery as Damon’s Bourne trilogy, not to mention, Inception’s intellectualism.
If anything, the film bears closer resemblance to the Wachowski's The Matrix, with the idea of
seeing behind a curtain we weren’t even supposed to know was there, exposing a
controlling background force. Regardless, this is not to say that The Adjustment Bureau is not an enjoyable
watch.
Based on the book of the same
name by iconic sci-fi writer Philip K. Dick, Damon stars as David Norris, an
ambitious politician with dreams of reaching the Senate and beyond, but with
controversy never far behind him. In the aftermath of one such incident, circumstances
align for him to meet Emily Blunt’s (Looper)
contemporary ballet dancer Elise. The two seem made for each other, but it is
soon made clear to David that they cannot be together, all because of the men from
the titular Adjustment Bureau. As we are told, they are ‘the people who make
sure things happen according to plan’, ensuring we do not stray from our
predetermined fates. However, such is the effect Elise has had on David, he resolves
to struggle against the trilby-sporting businessmen of fate to be with her.
The performances here are not
revelatory but enjoyable nonetheless. The interplay between Blunt and Damon,
essential if we are to believe in the stakes he would fight against for her,
works well. Their banter back and forth as well as the more genuine displays of
affection are entirely convincing with the film itself falling more into the
category of a romantic drama than straight up science fiction. Support is given
by the likes of Anthony Mackie (The Hurt Locker)
and Terrence Stamp (Wanted), with the
former faring better than the latter. Mackie is engaging and watchable, yet
Stamp feels as though he is merely picking up the paycheque with his facial
expressions rarely straying far from ‘distinctly disgruntled’.
The film moves along at a
reasonable pace, with the closest to an action sequence being Damon running
about a bit, without ever really setting the world alight. Somewhat peculiarly
the film’s initial political backdrop seems to rather hastily become little
more than an afterthought, in spite of the importance afforded to it in the
progression of events. The Ides of March this most certainly is not. However,
this does allow for the romance at the centre of the film to take centre stage
and with good performances and likable characters, popcorn movies have
certainly delivered worse in the past.
Overall, The Adjustment Bureau is
an absent minded pleasure (albeit a somewhat forgettable one), particularly for
those prone to such wistful diversions in wondering what our own pre-determined
plan might hold.
3/5
