The Adjustment Bureau
by Damon Smith and Michael Koresky
Every Monday, two Reverse Shotters wipe the weekend from their bleary eyes and engage in a postmortem on the multiplex trash (good or bad) they took in.
The Studio Chairman has a plan for you, Michael—and it’s written on interactive graph paper in a cheap black notebook toted by fedora-wearing angels, also known as flacks. (“We’ve been called that before.”) Be careful of inflection points, though, when you wander off-message. And if you plan to flex your critical free will in writing about this sweetly unconventional romance, rather than follow the PR script about how “grown-up” and “sophisticated” The Adjustment Bureau is (with that all-important caveat for a big-studio picture), watch out for ripple effects! I’ve nothing against love-at-first-sight stories, really, or watching the button-cute, vaguely porcine Matt Damon (as young senatorial contender David Norris) run like a Butterball turkey on crank from yet another retinue of shadowy agents, or peering at English pixie Emily Blunt’s lovely bone-in cleavage, but in trying to mash up every cinematic genre from Bulworth-esque political farce (Damon’s concession speech to his opponent embodies the undying fantasy of authenticity in Hollywood’s treatment of American politics) to Jason Bourne suspense thriller to brainy sci-fi fantasy, screenwriter-turned-director George Nolfi (Ocean’s Twelve, The Bourne Ultimatum) reduces his multidimensional passion play to a silly, slightly autistic finger painting. I wonder how this one was pitched to the execs at Universal . . . Okay, guys, it’s The Truman Show meets Sliding Doors! Continue reading.