'Adjustment Bureau' Review: Good Performances in Fascinating Story

No matter what your background, everyone faces two of the same basic life choices: how to be sure you’ve found your perfect life partner, and how to find a life path that’s meaningful. But what if you think you’ve got it all figured out, and then suddenly you learn there’s a much bigger plan at work that contradicts everything you ever wanted?

What if God Himself was standing in the way of your deepest hopes and dreams, or your true love? Can you possibly change His mind and His plan for your destiny? And is it wrong to try in the first place?

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These fundamental questions are addressed in fascinating fashion by the remarkable new film “The Adjustment Bureau.” The fact that it manages to do so in the context of a strong romance with plenty of thrills, stunning special effects, constant yet effective plot twists and outstanding performances by Matt Damon and Emily Blunt only adds to the appeal of this must-see movie.

Built upon the mind-bending work of legendary sci-fi writer Philip K. Dick, whose literary output also inspired “Blade Runner,” “The Adjustment Bureau” stands close behind “Inception” as one of the most original films to come out in years. A refreshing change of pace from typical Hollywood cookie-cutter fare, it stars Damon as David Norris, an idealistic young Democratic congressman who in the film’s opening minutes is scrambling to win a seat in the U.S. Senate, only to surprisingly lose on election night.

While prepping his concession speech, he meets Elise (Emily Blunt), a supremely talented ballet dancer whom he feels an instant love connection with, but who is chased away from him by mysterious men in hats. When David finds Elise again a few days later and develops an even stronger connection, he loses her in even more mysterious fashion – but this time, David stumbles across the mystery men in an entirely different setting.

They are erasing the memories of his colleagues at the law firm he now works at, forcing the hat men to explain that they work for “The Chairman” – an obvious reference to God – to keep certain important people’s lives running according to a strictly written plan. That plan is supposed to prevent David and Elise from falling in love, because each is meant to have a profound impact on the world in distinctly separate ways.

But this time, David doesn’t want to take “no” for an answer, and convinces Elise to make a literal run for their lives and destinies – setting off a complex chain of events and spectacular chases that force themselves and viewers to consider just how much of our lives are truly shaped by our free wills, and how much are predetermined by God or other mysterious forces.

Written and directed by George Nolfi, who previously worked with Damon as a writer on “Oceans Twelve” and “The Bourne Ultimatum,” “The Adjustment Bureau” weaves together action, humor, drama and romance all under universal questions that should leave viewers fully engaged in discussions about their own lives long after they leave the theater.

While the whiz-bang effects and top-notch performances are expected for such top-notch artists and actors, what’s truly surprising is how well the film handles the questions of free will versus predestination. Yes, God is an unseen “Chairman” here rather than straight-up Jesus, but “Bureau” is so adept with and respectful of the profound issues underlying its extremely entertaining core that the studio has engaged in a massive national outreach to Christian groups in an attempt to let them know that this film could be the kind of thing that kicks open the doors to inventive, intelligent work with a Godly bent. This is one film that merits such an outreach and isn’t just faking it, nor is it a religious film where the entertainment value is lacking beyond its message.

Damon and Blunt have instant, sparkling chemistry and handle the vast range of their roles with ease, while the film’s stunning visuals create an entire parallel vision of New York City that will likely make anyone who sees this film never look at the Big Apple the same way again. The only weak spot in the film is the character of one of the lead men in hats, played by John Slattery, who comes marching into some early scenes with blatantly expository dialogue that made me feel like a college freshman fiction-class writer had been handed the scenes while the rest of the film was being written by Shakespeare.

But after a couple such maddening moments, even Slattery and his character find their groove, slipping into the puzzle with ease and ultimately adding to the wonders at hand. I realize that this may sound like a studio press release, but trust me on this one folks: this could be a landmark film in the quest to have deeper films that respect the quest we’re all on for a Godly life and a meaningful eternity, and if it’s not supported, it will be a long time before Hollywood steps up to the plate on this level again.