The Adjustment Bureau

There are plot holes within plot holes within plot holes, and although acres of raw exposition are provided, nothing ever makes proper sense.

It was a decent concept (at best) that was not supported with a good screenplay, and grew sillier by the minute. It just didn't work.

Accomplished filmmaking that features two highly attractive, talented leads, a healthy dose of sentiment, an intelligent script, and which takes you away for two hours from the quotidian worries and banalities of your regular life.

Nolfi and his colleagues make especially good use of New York, filming everywhere from the Brooklyn waterfront to the lobby of the Museum of Modern Art. It's a fresh look at a familiar city. But Nolfi drops the ball in the home stretch, and that's...

The film's chief interest isn't plumbing philosophical questions of fate, providence and autonomy but, instead, wallowing in skimpy fairy-tale romanticism.

What sustains the film is the handsome location shooting and the chemistry between the very photogenic leads.

Shot without much visual panache, The Adjustment Bureau remains a confident and well-executed film by first-time director Nolfi.

The film is well made, uses some great Brooklyn locations, and has some nice performances especially from it’s two leads. But the inconsistent script, lackluster ending, and flat-out silliness brings down what could have been a fun movie.

"The Adjustment Bureau," with its turmoil, is a fascinating allegory for entertaining the debate between fate and free will.