To me, this movie is perfection.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

One of the most extraordinary films you will see this year. Take that as you want.

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 (Dances With Wolves), as a very convincing pervert. However, the rest of the acting crew was strictly local theater troupe level. Not really recommended.

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.

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.

I've decided that Egoyan is a minimalist. Not only are great gaps created on purpose in the Egoyan film script, an enormous amount of dialogue is left unwritten as well. Including the Adjuster I have seen at least three of his films. Exotica is the one I remember the least, the Sweet Hereafter the one I recall best. Sweet Hereafter was closer to being a conventional film, its script an adaptation of a best-selling novel. But the Egoyan filmstyle was visible in Sweet Hereafter too. It took a couple of viewings before I realized the father of the young girl in Hereafter was having sex with his daughter before her involvement in the accident. It is an instance when leaving something not quite spoken or noted works out beautifully in the script. At least in the three films I have seen, unconventional sexual tastes are also a recurrent theme. Egoyan is obsessed with them. I think he believes everyone is obsessed with sex in their own way. I believe he is right, but this Director finds ways to make his characters borderline pervs while at the same time stressing their conventionality.An unanswered question in Adjuster is how the crazed ex-footballer and filmmaker cum fantasist managed to find the adjuster. Also, one of the fantasist's retinue of females managed to appear before the Adjuster's wife on the subway, midway through the film. This is the woman in red who sits next to the decrepit bum after he has revealed his state, and puts his hand in her crotch and smiles joyously at the rest of the subway passengers. Later the Adjuster's porn-censoring wife repeats the inverse of the same gesture on herself when the 28 year old rookie film censor arranges to view some porn alone with her. There is also the question of what this woman is actually doing with the outtakes she films with a video camera. Her story about the camera being a way to show her sister what she does is not convincing.Yes, do go back and see the film again. There's all kinds of stuff in it.