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.
29 Reviews
Very Different
gavin694229 December 2015
A reflection about what makes everyone's life unique, through the story of Noah's family. Noah (Elias Koteas) is an adjuster, having sex with his customers. His wife Hera watches pornographic movies for the Board of Censors. They live with their son Simon and Hera's sister in a show-flat. One day, they meet Bubba (Chris Christie), who wants to make a movie in their house.
I wish I had known about Atom Egoyan years ago. I only recently "discovered" his work, and it is generally excellent. Between this and "Exotica", I am not sure which I like more. He tells original stories, and puts Elias Koteas to good use... no one else seems to be able to do that, wasting him in supporting roles. (To mainstream audiences, Koteas is Casey Jones but little else.) Some of the plot confuses me, especially as it goes on, and it could use a second (or third viewing). And why not? This is the sort of picture to share with friends.
I wish I had known about Atom Egoyan years ago. I only recently "discovered" his work, and it is generally excellent. Between this and "Exotica", I am not sure which I like more. He tells original stories, and puts Elias Koteas to good use... no one else seems to be able to do that, wasting him in supporting roles. (To mainstream audiences, Koteas is Casey Jones but little else.) Some of the plot confuses me, especially as it goes on, and it could use a second (or third viewing). And why not? This is the sort of picture to share with friends.
Film need more adjustments added
videorama-759-85939123 April 2017
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.
Extraordinary
scr1ve20 August 2001
(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.
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.
Challenging Art -- Good Times.
versatilentertainerextraordinair7 April 2005
What a unique and challenging story to work through. The characters are so emotionally unavailable, it is nearly maddening. Even after several days since I watched it, I can't stop thinking about what its purpose is. It requires a second viewing, if one is not too faint of heart. I loved it, even though I did not understand it all the first time. As a recommendation for all of Egoyan's work -- if you're all about the quick fix of action-packed entertainment, look elsewhere. If you want an emotional, suspenseful piece of characterization steeped in a sort of horrid reality, well, this may just be the thing for you. It is a brain teaser. Good luck to all.
*There is also a charming short on the DVD for The Adjuster called "En Passant". It is worth a gander.
*There is also a charming short on the DVD for The Adjuster called "En Passant". It is worth a gander.
I like it as always by Atom
besherat27 June 2018
I watched it right now. As always, Atom Egoyan has found a new topic and, as always,he gave us his specific approach to the theme. The way how camera is driven throughout the movie, gives a constant atmosphere of tension, enhanced by slow-motion frames in the movie. Interesting film, otherwise I adore all his films, so it's no wonder I proclaim it as good.
How can you place a dollar value on human suffering?
Doc-13416 March 1999
Atom Egoyan is an absolute genius, but I find it somewhat difficult to discuss his films as they are so complex. He seems to make the kinds of movies where you walk out of the theater after it's over and all the parts are clear in your head, but you can't quite piece them all together. But you can't help but try. Sooner or later, everything falls into place, and sometimes it doesn't. Either way, Egoyan makes you really think about a lot of issues.
"The Adjuster" is about an insurance adjuster who helps victims of house fires get money from insurance companies. There is a really great parallel drawn between the adjuster, Noah, and Robin Hood. He quite frequently shoots arrows with his bow at a billboard sign that says "Sherwood Forest". He is essentially taking money from the rich insurance companies and giving it to the poor victims of fires. We also have Noah's voyeuristic wife Hara, who is a film censor for porn flicks. She films what they censor with a video camera so that her sister can see what she does, as she has always shared everything with her sister. There is an extreme sense of bareness of the characters lives in the film. This is reinforced by the vast, open, almost desert landscape around the suburb. They own the only house in this particular suburb, and it is in fact a model house. Even the books on the bookshelf inside are fake. All this seems to reinforce the lives that the characters live. This is a definite achievement from a cutting edge director.
"The Adjuster" is about an insurance adjuster who helps victims of house fires get money from insurance companies. There is a really great parallel drawn between the adjuster, Noah, and Robin Hood. He quite frequently shoots arrows with his bow at a billboard sign that says "Sherwood Forest". He is essentially taking money from the rich insurance companies and giving it to the poor victims of fires. We also have Noah's voyeuristic wife Hara, who is a film censor for porn flicks. She films what they censor with a video camera so that her sister can see what she does, as she has always shared everything with her sister. There is an extreme sense of bareness of the characters lives in the film. This is reinforced by the vast, open, almost desert landscape around the suburb. They own the only house in this particular suburb, and it is in fact a model house. Even the books on the bookshelf inside are fake. All this seems to reinforce the lives that the characters live. This is a definite achievement from a cutting edge director.
Atom gets a split vote
riderpridethemovie27 August 2005
Even those who worship at the altar of Egoyan would probably admit The Adjuster needed a bit of, er, adjusting. The first half an hour of the film is so disjointed and gives so little information it's comical, almost like a parody of his later work. Of course, this movie came before Exotica and The Sweet Hereafter and is really only useful to those who enjoyed those films as an exercise to see where Egoyan came from. And it goes to prove that no one, not Egoyan, not Scorsese, not Spielberg, made their best pictures straight out of the gate. The Adjuster has many of Egoyan's signatures explorations of photographic voyeurism, depraved sexuality, his wife but in The Adjuster he forgets to cross his Ts and dot his Is. The editing is particularly jarring, with little flow within scenes and jerky transitions between story lines. There are some interesting images, especially of the model home in the middle of nowhere and an interesting contrast between suburbia and the urban motel where Elias Koteas' character houses his clients/victims. Egoyan deserves credit for pioneering this style of dreary, detached storytelling, which like it or not is truly original. Of course, he is also responsible for the clones who have copied this style (Last Night, Century Hotel, The Five Senses) to less-than-desirable results and given Canada the reputation of precious alternof---s. No, really, we're normal people who don't all have cold sex.
Egoyan's most disturbing, challenging film rewards repeat viewings
bob_meg23 December 2010
Warning: Spoilers
I first became a fan of Atom Egoyan's work with Exotica, continued with The Sweet Hereafter, and then was completely hooked when I stumbled upon The Adjuster about ten years ago.
I bought the DVD (I was so taken with it) and then just watched it for the second time tonight. The Adjuster is possibly the most hypnotic and captivating of all of Egoyan's films (if you can get past the over-the-top bizarre factor) simply because you literally need to get to the end of the film to really put it together. And while that was true of other films, particularly Exotica, The Adjuster is a bit more rewarding simply because the themes and undercurrents of the film are so subtle. As with all of this Armenian-Canadian filmmaker's works, it draws its magic out slowly, until it literally has you mesmerized.
It centers around an almost martyr-like insurance adjuster (played with brilliant cryptic understatement by Elias Koteas) who appears to be in an almost cardboard cut-out of an existence. He lives with his semi-estranged wife (Arsinee Khanjian) in an ersatz model home whose interiors are half fake, her sister and a small boy. His time is consumed making calls on victims of fires, all of whom he places at a typical multi-colored door motel, spouting canned bits of comfort and wisdom to them as their claims continue unpaid for an extremely long period of time. Koteas' character seems obsessed with making time stand still, in a way, and it's only revealed at the end the root of his fragile madness.
The real standout performance (and piece of character writing) is in the always great Maury Chaykin's character. Now, I never got that he was an ex football player, and never really believed his name was Bubba, but I guess that's plausible. I merely thought he was another obsessive, taken to the extreme by extreme wealth and boredom. He's the true nightmare version of Koteas' character. Just the mere device of Chaykin and his wife tooling around in their chauffeured Lincoln or whiling away time at their huge mansion, always in search of some illusory delusion of normalcy and happiness was enough to hook me into this. Chaykin's absorption into this character is fascinating to watch. The crux of the movie's themes are all over an outstanding monologue he delivers while posing as a location scout for a movie company. It's all there and rendered indelibly by him. Fabulous actor....just fabulous.
There's a whole other subplot with Khanjian, her sister, and fellow censor Don McKellar that mirrors much of the movie's central theme. It adds to the richness of the jigsaw but doesn't hold a candle to when Koteas and Chaykin are on screen.
As for those who wonder where the plot is --- well, films like this are more thematic and character driven, so you may want to pass on this one if you require a story and get angry when films don't deliver that. For those searching for more, trust me....you'll find it, and then some.
I bought the DVD (I was so taken with it) and then just watched it for the second time tonight. The Adjuster is possibly the most hypnotic and captivating of all of Egoyan's films (if you can get past the over-the-top bizarre factor) simply because you literally need to get to the end of the film to really put it together. And while that was true of other films, particularly Exotica, The Adjuster is a bit more rewarding simply because the themes and undercurrents of the film are so subtle. As with all of this Armenian-Canadian filmmaker's works, it draws its magic out slowly, until it literally has you mesmerized.
It centers around an almost martyr-like insurance adjuster (played with brilliant cryptic understatement by Elias Koteas) who appears to be in an almost cardboard cut-out of an existence. He lives with his semi-estranged wife (Arsinee Khanjian) in an ersatz model home whose interiors are half fake, her sister and a small boy. His time is consumed making calls on victims of fires, all of whom he places at a typical multi-colored door motel, spouting canned bits of comfort and wisdom to them as their claims continue unpaid for an extremely long period of time. Koteas' character seems obsessed with making time stand still, in a way, and it's only revealed at the end the root of his fragile madness.
The real standout performance (and piece of character writing) is in the always great Maury Chaykin's character. Now, I never got that he was an ex football player, and never really believed his name was Bubba, but I guess that's plausible. I merely thought he was another obsessive, taken to the extreme by extreme wealth and boredom. He's the true nightmare version of Koteas' character. Just the mere device of Chaykin and his wife tooling around in their chauffeured Lincoln or whiling away time at their huge mansion, always in search of some illusory delusion of normalcy and happiness was enough to hook me into this. Chaykin's absorption into this character is fascinating to watch. The crux of the movie's themes are all over an outstanding monologue he delivers while posing as a location scout for a movie company. It's all there and rendered indelibly by him. Fabulous actor....just fabulous.
There's a whole other subplot with Khanjian, her sister, and fellow censor Don McKellar that mirrors much of the movie's central theme. It adds to the richness of the jigsaw but doesn't hold a candle to when Koteas and Chaykin are on screen.
As for those who wonder where the plot is --- well, films like this are more thematic and character driven, so you may want to pass on this one if you require a story and get angry when films don't deliver that. For those searching for more, trust me....you'll find it, and then some.
sexual perversion looking for meaning
SnoopyStyle18 June 2015
Noah (Elias Koteas) is an insurance adjuster. He sleeps with ladies who suffered lost and Arianne (Jennifer Dale) is the latest one who lost her home to fire. His wife Hera (Arsinée Khanjian) watches movies for the Board of Censors and she secretly films the most brutal. They have a son with Hera's sister are the only ones living in one of the model homes in an undeveloped field. Tyler (Don McKellar) is a new reviewer for the Censors. Bubba (Maury Chaykin) is a pornographer who's interested in Noah's house. There is also a sex pervert stalker.
I'm not sure what Atom Egoyan is trying to get at other than bring together a lot of the characters' dark side. The quest for a plot is left to the audience. It's a movie with a theme more than a story. One can really debate the point of each character and their significance. It's great to use modern sexual perversion as a launching off point but I like a story that moves more. It's a bit too slow and therefore feels repetitive with pregnant pauses. It's a movie that feels like it's saying something although I'll be damned if I know exactly what that is.
I'm not sure what Atom Egoyan is trying to get at other than bring together a lot of the characters' dark side. The quest for a plot is left to the audience. It's a movie with a theme more than a story. One can really debate the point of each character and their significance. It's great to use modern sexual perversion as a launching off point but I like a story that moves more. It's a bit too slow and therefore feels repetitive with pregnant pauses. It's a movie that feels like it's saying something although I'll be damned if I know exactly what that is.
Strange, and I Mean It
crossbow01064 April 2008
This very quirky film by director Atom Egoyan is about an insurance adjuster Noah, played by Elias Koteas. He is very empathetic to the victims of fires to their homes, and all of his clients end up staying in the same motel complex until their claims are settled (which never happens). A parallel story is about Bubba and Mimi, a rich couple who act out fantasies in public (she befriends him as he plays a sleeping derelict on the subway, she's a cheerleader for the football team-she is not a very young woman). The acting is fine, particularly Bubba, who is played by Maury Chaykin. I've seen him in many other projects, I think he'll be familiar to you. My problem is the story is weird for weird's sake. Who'd want to know these people? They are creepy, and the film becomes creepy. Its cutting edge, but I wanted better character development. I felt it just didn't deliver. If you get the DVD, you'll be rewarded. Included are two things which I really liked. One is the almost 20 minute film "En Passant", starring Maury Chaykin and Arsinee Khanijan, who plays Noah's wife in "The Adjuster". It moves along at a good pace and tells a simple, but good story. The other thing is an interview with director Atom Egoyan. He is articulate and I found he is true to his craft. I also realized he directed the excellent "The Sweet Hereafter". I'd recommend that movie before you touch this film. But, if you see the DVD, buy it for the extras. Check the film out. I didn't love it, but others here did.
My favorite Canadian movie of all time!!
Spuzzlightyear9 August 2005
Words cannot express how much I love The Adjuster. It's actually been a while since I saw it, so I picked it up again, and well, fell in love with it once again. It's just that good.
The cast consists of a Canadian dream cast du jour: Elias Koteas! Don Mckellar! Maury Chaykin! Arsinée Khanjian! They're all DYNAMITE here, playing some low down creepy characters here.
Koteas plays the titular Adjuster in the movie, looking after people who've lost their houses in a fire. Khanjian plays his wife, who makes a living from being a censor for the government (!!), Don Mckellar plays the new censor that was hired who catches on very quickly how to move up in the world. I'd rather not get into Maury Chayken's character if you don't mind lol All of these characters intermingle with each other. There's not a huge story to be found here, more of a character study. And what a study it is, as you find out a little more about each character with every viewing, with some mysteries yet to reveal (What WAS with the Podiatrist?) Can't recommend this movie enough. I have to say this is Egoyan's crowning achievement, and I've been waiting for him to replicate it. (Instead, he's been giving us crap like Felicia's Journey)
The cast consists of a Canadian dream cast du jour: Elias Koteas! Don Mckellar! Maury Chaykin! Arsinée Khanjian! They're all DYNAMITE here, playing some low down creepy characters here.
Koteas plays the titular Adjuster in the movie, looking after people who've lost their houses in a fire. Khanjian plays his wife, who makes a living from being a censor for the government (!!), Don Mckellar plays the new censor that was hired who catches on very quickly how to move up in the world. I'd rather not get into Maury Chayken's character if you don't mind lol All of these characters intermingle with each other. There's not a huge story to be found here, more of a character study. And what a study it is, as you find out a little more about each character with every viewing, with some mysteries yet to reveal (What WAS with the Podiatrist?) Can't recommend this movie enough. I have to say this is Egoyan's crowning achievement, and I've been waiting for him to replicate it. (Instead, he's been giving us crap like Felicia's Journey)
a cast of unattractive characters in search of a plot
mjneu591 November 2010
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.
exceptional
David_Moran26 November 2004
this early atom egoyan film is truly the best of his movies that i have seen, and they are "exotica", "felecia's journey", "the sweet hereafter", "speaking parts" and of course "adjuster". egoyan has a very special gift and that is the way he tells the stories, a way that forces the characters to do things you wouldn't think they'll do, or do them in a very un-expected way. egoyan drives you into the story using all the tools included in a film director's case: beautiful, almost dreamy photography, haunting mysterious music,careful attention to movement and color. that is the case with all his films but in "adjuster" this unique style of his really comes to a peak. the strange story of an insurance adjuster being eaten inside by guilt and fear seems to take place in a world where morality and good are disappearing slowly, living the honest man to burn is his own hell, created by his inability to read the reality that lies before him. this is always a very good story material for films, because it allows the filmmaker an investigation of the psyche, tormented, searching, afraid and yet unable to tie all ropes together to make sense of the world. i recommend watching "the adjuster" and then watching it again after a day or two. if you dig movies, you will not forget this one. an exceptional experience.
Most insightful and prosaic film I've ever seen
identity1117 December 2006
Agree with the previous post.. this film is extraordinary and I'm amazed at the negative reactions here. I would rate it as my favourite film of all..
It's an incredible and subtle meditation on what means to be alive, to be human, to love. To be human and to be confronted by this fragmented, alienating, disturbing modern existence .. with our lives and interactions largely filtered through technology and our experiences so far removed from those of our ancestors and those before.
I was provoked and amazed by this piece of work - and I'd urge anyone who wants to be challenged to see it.
James
It's an incredible and subtle meditation on what means to be alive, to be human, to love. To be human and to be confronted by this fragmented, alienating, disturbing modern existence .. with our lives and interactions largely filtered through technology and our experiences so far removed from those of our ancestors and those before.
I was provoked and amazed by this piece of work - and I'd urge anyone who wants to be challenged to see it.
James
watch the movie again, i can tell you barely were paying attention
pa3486 May 2002
This is a great movie. You should watch it again. I agree that it is not one of Agoyans most accessible films but there are many elements that first surfaced in Adjuster that are featured prominently in his later works (Exotica, Calendar, SHa). Following on the impetus of many cutting edge directors Agoyan employs plot elipses to avoid a forced resolution in both Exotica and Adjuster--in other words he creates interactions that are never really resolved, symbolized in the act of striptease. Playing on the role of the erotic in both films, Agoyan goes over the top with Exotica--although I think it is a great film--falling back on the erotic material it others in a way that he subtly avoids in Adjuster. The only real onscreen sex occurs while the Adjuster and one of his clients talk about some of the loopholes of the insurance claims, a provocative and hilarious scene. The adjuster, you are led to believe is a pervert or something to that extent, but the truth is that he is obsessed with his job and only wants to make people happy. Of course he puts his family second to his work (although they were once his clients--another tantalizing irresolution). More than in Exotica irresolution and contradiction is played up in Adjuster, leading up to a number of amazing scenes that exemplify the ways that we are influenced or adjusted by the visual mediums which we abhor. The clearest example is the final porn screening when the new censor comes on to Khanjian, who hesitates and then laughs, but laughter that is impure and begins at some point to resemble sobbing. Anyway I think Adjuster is one of Agoyans best films, worthy of being watched many times.
All style - little substance
susansweb23 November 2004
Early effort from director Atom Egoyan doesn't have the intricate sub-plots of his later movies but it does show that his penchant for stylized set pieces is not a new thing. From Maury Chaykin's elaborately staged sex romps for his wife to the hotel that the insured clients stay at; everything looks great but the movie itself seems sterile. Elias Koteas' performance sums it up best: cold and emotionless. Sex plays a big role in this movie but no one enjoys it. From the movies that censor Arsinée Khanjian views to the "extra" benefits that Koteas provides his clients - sex seems more a chore than anything else. Even with Chaykin's sex games, the excitement is more with the setup than the act itself. You know what? Big deal! Egoyan seems so intent on showing how detached (and boring) people can become that it is hard not to feel that way watching the movie. Egoyan movies are worth watching because he really tries to make a statement but in most cases the films become exercises in making pretty pictures and in some cases, pretentiousness. This movie just misses being pretentious but it isn't very memorable either.
a resonant meditation on what's of value within us, around us
sissypower14 January 2000
At the center of Egoyan's dark journey into moral and materialistic devastation is Elias Koteas' Noah, the mortal bearing the film's title, carrying its weight -- certainly delivering the goods in what must be considered his finest ninety-plus minutes on film. He never disappoints this viewer (his cameo turn as "the Kisser" in LaGravenese's LIVING OUT LOUD was a landmark in my memory simply as a point of relief, an answered prayer).
Mychael Danna's score and Steven Munro's sound design push THE ADJUSTER past the dream world threshold, unraveling it strand by strand to catch and spin in the viewer's subconscious. This is one you wont shake easily. Egoyan magic.
Mychael Danna's score and Steven Munro's sound design push THE ADJUSTER past the dream world threshold, unraveling it strand by strand to catch and spin in the viewer's subconscious. This is one you wont shake easily. Egoyan magic.
Good Try, No Cigar - The Adjuster
arthur_tafero10 August 2018
This film should have been titled The Sterile Cuckoo, but that title had already been taken by another film. Atom Egoyan tries to get away from the mundane life of an insurance adjuster by adding kinky to the film every ten minutes or so. The formula falls short.
It is different; and the kinky scenes are interesting, but not interesting or explored enough to alleviate the boredom of the basic plot. I enjoyed the scenes of the only professional actor in the film, Maury Chaykin (Great performance in The Legend of 1900, as a very convincing pervert). However, the rest of the acting crew was strictly local theater troupe level. Not really recommended.
It is different; and the kinky scenes are interesting, but not interesting or explored enough to alleviate the boredom of the basic plot. I enjoyed the scenes of the only professional actor in the film, Maury Chaykin (Great performance in The Legend of 1900, as a very convincing pervert). However, the rest of the acting crew was strictly local theater troupe level. Not really recommended.
Confused yes, immature yes, but visually inventive, unusual and highly stimulating
rmcubed16 August 2002
First, the one bad thing about this film, its handling of sex. It's crass, and the fact that the lead character's wife works for the Board of Censors and watches a lot of pornography manages to be both pompously self-referential and irritatingly shallow at the same time, as well as leading to some completely unnecessary voyeurism.
However, it is bang on in its handling of the lead character. Theoretically unpromising as an insurance adjuster (although Woody Allen makes it work too!), in fact the way in which he interacts with his "clients" exposes interestingly the relationship between people and the service industry (think just how bad or good your bank can actually make your life).
Lots of great interior shots and visual invention, too. Even pretty funny in places.
However, it is bang on in its handling of the lead character. Theoretically unpromising as an insurance adjuster (although Woody Allen makes it work too!), in fact the way in which he interacts with his "clients" exposes interestingly the relationship between people and the service industry (think just how bad or good your bank can actually make your life).
Lots of great interior shots and visual invention, too. Even pretty funny in places.
Entertaining and strange at the same time
jaimegonzales2103 April 2022
Warning: Spoilers
This movie is entertaining, which is (supposed) to be the reason movies are made. It is that, and not bad.
The movie is also very, very strange. I don't understand the sexual inherency in almost every scene, and the "insurance adjuster" is just very creepy how he interacts with the people filing insurance claims. Having worked as an insurance estimator, I am sure that nothing even remotely similar has ever happened in real life, other than that people have to deal with adjusters to settle claims.
The scenes with the wealthy couple that sexually act out in public seem to be trying to say something, but I am not sure what, exactly. You can see the husband's pain, for example, at the football field when his wife is being "serviced" by a "football player" only moments after she tenderly touched his face and related how good he was to her. He and his wife are also apparently socially unaware of real people and how they react to others. I guess they remind me of a sexualized version of the wealthy couple on Gilligan's Island, unaware of how regular people think and feel. They do extravagant things to prevent being bored.
The adjuster's wife, who literally watches porn for a living, is very alluring, I keep expecting more meaning from each scene with her. The scenes of her at work, interacting with her coworkers, are interesting. Her lack of physical response to the graphic sex she watches is a nice contrast, an interesting character study. She asks her husband if he feels stupid in a way that is not even a little insulting, even though it should be.
Overall, I have seen far worse movies. This is certainly worth watching, if only as a study in how some people interpret life.
The movie is also very, very strange. I don't understand the sexual inherency in almost every scene, and the "insurance adjuster" is just very creepy how he interacts with the people filing insurance claims. Having worked as an insurance estimator, I am sure that nothing even remotely similar has ever happened in real life, other than that people have to deal with adjusters to settle claims.
The scenes with the wealthy couple that sexually act out in public seem to be trying to say something, but I am not sure what, exactly. You can see the husband's pain, for example, at the football field when his wife is being "serviced" by a "football player" only moments after she tenderly touched his face and related how good he was to her. He and his wife are also apparently socially unaware of real people and how they react to others. I guess they remind me of a sexualized version of the wealthy couple on Gilligan's Island, unaware of how regular people think and feel. They do extravagant things to prevent being bored.
The adjuster's wife, who literally watches porn for a living, is very alluring, I keep expecting more meaning from each scene with her. The scenes of her at work, interacting with her coworkers, are interesting. Her lack of physical response to the graphic sex she watches is a nice contrast, an interesting character study. She asks her husband if he feels stupid in a way that is not even a little insulting, even though it should be.
Overall, I have seen far worse movies. This is certainly worth watching, if only as a study in how some people interpret life.
A disappointing and confused film
Ali-3017 December 1998
Being a huge Atom Egoyan fan, I had high hopes for this film. Unfortunately I came away thinking this film is mixed up and confused. The premise and some of the characters show a lot of potential but I feel that it is never realised.
The set up is a look at the life of an insurance adjuster, and the effect he has on others. His wife works as a censor for pornographic films, and sexuality is a theme that runs deep. The main problem is probably that the film tries to say too much, and so you end up feeling that it lacks focus and direction.
The film's saving grace is a great performance from Elias Koteas. It's unfortunate that it's not coupled with a better, more disiplined story and script. If you want to see how good Egoyan really is watch Exotica or The Sweet Hereafter, rather than this.
The set up is a look at the life of an insurance adjuster, and the effect he has on others. His wife works as a censor for pornographic films, and sexuality is a theme that runs deep. The main problem is probably that the film tries to say too much, and so you end up feeling that it lacks focus and direction.
The film's saving grace is a great performance from Elias Koteas. It's unfortunate that it's not coupled with a better, more disiplined story and script. If you want to see how good Egoyan really is watch Exotica or The Sweet Hereafter, rather than this.
Peculiar....in a bad way.
=G=8 July 2001
Imagine dining at a four star restaurant with wonderful ambiance, service, linen and dinnerware; great wine; a superb salad; and exquisite dessert but a totally botched and messy entree which you can't even identify. Well, that's "The Adjuster". An excellent film technically and artistically but a mess of a story which leads to an unsatisfying and eventually boring watch. Peculiar for the sake of peculiar a good film does not make.
Made me wonder if I should see any more of Egoyan's films
AnnaGraham29 July 2003
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.
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