The Adjuster

The one thing I can always count on from Atom Egoyan is an interesting film. This is a brilliant, and very dark, comedy with a sensationally twisted plot, fabulous cast, and great cinematography. Egoyan's use of light is excellent, as is the wonderful setting and scenery. This film is so imaginative that it's beyond a story told on the screen...visual poetry. And the frightening thing is that as good as this film is, it's not even his best effort. The pace was a bit slow at times, and at times the plot seemed to stagger a bit. His film-making was much sharper in Exotica, which is my personal favourite. But the plot is so well devised (odd and twisted, and full of intricate details that are hard to really absorb the first time through) that it makes up for any lack of quality. Elias Koteas is really good in this; his best role save perhaps Fallen, and he outshines Arsinee Khanjian who didn't quite feel up to par. My favourite role in the film, however, was a fabulous performance by Maury Chaykin as an unbalanced former football player. The gasoline scene is the best in the film, and Chaykin's expression and lines are priceless. As well, look for Don McKellar's excellent, though unfortunately small role, as Tyler (the rookie censor). He's absolutely hilarious, and his delivery of dialogue is nothing short of brilliant. All i all, it's not Egoyan's best effort, which means it still stands above most films. A really good quality indie-film, with a *very* original plot, quirky and memorable characters, and a strong cast. An easy 8/10.

(I can't believe the negative comments I have read on this page. I mean, sure, peoples opinions are allowed to differ- thats what makes this world so great blah blah blah etc... but this film is incredible and it would be a shame that someone would disregard renting it out on video because someone had bad-mouthed it here.)

This film is set firmly in Egoyan country. We have dysfunction, we have recorded media, we have beautiful shots, a wonderful score, great dialogue, fantastic use of silence (watch out for that one) and overall- you can feel an almost religious intensity beaming through the celluloid. My memory of this film consists of much more than just a plot- it is the warmth, the colours that stick with you too. One more thing... Tarkovsky said that films best asset was its ability to sculpt in time. Egoyans measured rhythm is hard to resist (obviously not for some people).

It seems to me though, that the complaints here are not to do with the films form. Of course it is well made. They have problems with the script, or at least the order of things. Well, for me- the chaos and strange order of things in this film keeps it gripping- apart from the fact that you never know what is going to come next- isn't this half chaotic order a better rendition of reality than most? The content is also 'strange' and not really in keeping with 'popular taste'. So if you are easily offended, or more at home with Spielberg- then please feel free to stick to him. But this is brave, sumptious, disturbing, invigorating, and beautiful territory. I was pleased to visit it.

P.S. Elias Koteas' performance is probably one of my top five favourite performances ever, up there with Takeshi Kitano in Bad Cop and Christopher Walken in King of New York. Stoic, tragic, he hardly puts a foot wrong.

Here's one of those art house films, out there in weidorama land, where the lead characters have interesting picked careers, that are both explored, which I found informative. Most of the characters are odd, (it's a Atom Egoyan film, remember) and of course no forgetting wild actor, Koteas. It's great to see him in a lead, especially in something like this. He's a very good actor, who I've followed since seeing him as the bitter paraplegic in that Hogan fare, Almost An Angel. He's more impressive, the more stuff I see from this guy. Here he plays an over caring and over sympathetic insurance adjuster to destroyed and devastated folk, who've lost their homes in fires. He sleeps with some of his clients too, and shows real generosity putting the shattered clients up in this motel. He also does one of the maids. His wife, Arsinee Khanjian is a pornographic censor, who gets caught up in her work, one might say, actually furtively, taping her flicks, and taking her work home to get off. Could she be unfilled sexually? I really liked learning a bit, how the censor worked. And who is this real oddball director (Chaykin) who uses their show home as a film location, where the lead actress begins to strip, while surrounded by a circle of little boys sitting. Of course, we don't get past seeing her with her loud red bra, where what's followed is implied. The Adjuster has a few strange moments, including one lesbian, feeling up another on a train in frank view of Khanjian sitting across, fascinated. But none more unforgettable is obviously Chaykin, beating off at Koteas's window. Chaykin too, has formed a weird relationship with Khanjian's younger sister which provides a disturbing twist in it's end. Even though Koteas does his really good part, as a troubled and distressed guy, he's upstaged by Chaykin who I thought rocked. His character was so intriguing, though the performance that really stuck, and it was a small part, was that of the head censor, Hemblen. He was brilliant, almost beyond belief, so naturalistic, he too, providing another weird moment. With it's mini promotional poster, of Elias, holding a bow and arrow (what's with that?) this was movie a movie that got my vested interested, I wasn't disappointed in any way by this movie, except, the High Level Sex Scenes warning, the main one, where Koteas is making love with one of his clients, in a teasing darkness, Koteas and co, practically silhouettes. Yes, it has style, is semi arousing, thought provoking, and of course, remotely original, but at the end of it, in spite of all these plusses, The Adjuster, doesn't really equate to much. There just wasn't enough here, like filling to a sandwich. You walk away feeling unmoved, only that's not how you feel when you watch it. Like many directors, Eyogan went on to cast some of the same actors, for his better 'Exotica'. Definitely, still a recommended view. Don't cross it off. Some David Lynch fans might get a buzz out of it too.

Canadian filmmaker Atom Egoyan redefines the black comic satire of his earlier films ('Family Viewing', 'Speaking Parts'), but for all its dark wit and visual sophistication the effort doesn't add up to anything more than a cast of unattractive characters in search of a plot. These include, in ascending order of eccentricity: a handsome insurance agent who uses his control over the victims of catastrophe for sexual favors; his wife, a government film censor who secretly bootlegs violent porn movies for her apathetic sister; a filthy rich couple with a fetish for enacting elaborate exhibitionist fantasies; and so forth. The film is disturbing, perverse, sporadically funny, and totally original, bit also inscrutable to the point of confusion: it gives the impression of depth without clearly saying much about anything at all. Egoyan is a filmmaker of obvious and distinctive talents, but he needs (once again) to build a stronger story around his strange characters.

This film gave me the creeps. I guess some people like that in a film, and of course that is their prerogative. Sometimes a creepy film will have enough intrigue in other ways to keep my interest and appreciation, but this was not the case with the Adjuster. I almost turned it off because it was making me dread what would happen next. The music made me nervous and I found the characters' neuroses neither amusing nor interesting. In fact, I thought the characters were quite flat in spite of their quirks.