I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

The movie really just wants to entertain people.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

To respond to a previous review that wrote that the fact that the censor wife tapes porn from work to show her sister since they share everything together isn't convincing---in the film the wife explains to her boss that she shared what she learned from school to her sister because she couldn't go to school, and that it is like that from where they're from. Egoyan didn't specify where they were from, but it is Armenia. The way I see it, I am convinced because it is a matter of culture and family in a more depraved country, and I got it immediately, and the fact isn't that the sisters' bond is strange, but like the wife said, it is like that where she comes from. To me, the movie is an extreme dramatization of a man too involved in his work, which in the end destroys his life and family in a climate of heightened modernity and an inevitable air of danger. In one of the film's most gruesome scenes, a man is masturbating outside the glass slide doors of the living room at night while the wife's sister is watching one of the taped porn movies. In another scene, the "filmmaker" greets the family and gives them each an identical jacket, designed like tacky franchises sold in amusement parks. There's a certain vulnerability about the way the family members take the jacket, as if the scene is trying to express an awkward sorrow about mass franchise and how it's crudely threw at people and families. What I found very, very amused and surprised by is how throughout the film I expected, in the end, the obscene couple to be exposed to the family then shame and explanation could to be provided as punishment for their deceit and nightmarish violation---but when the husband finally confronts the "filmmaker" while he is about to burn down his living room, he is shown as simply, understandably, INSANE.Their are certain unnecessary or unsubtle little spots of ambiguity in the film such as the wife's prior, semi-romantic encounter with her foot specialist on the subway, but then again, such details and the film's insistence in unpurifying EVERY relationship the adjuster has with his clients has its own reasons and means of defining and exposing the main characters that enhances the environment of robbed values the film so determinedly tries to create. Atom Egoyan stands out as a filmmaker of "ideas", and in this film as well as most of his images/pace/style express a lyrical modernity through a rich and mysterious vision. He is the most interesting provocateur.

I am writing primarily because Mike seemed to be unclear about some of the plot points in the film. As to the chance encounter between the adjuster's wife and the film-maker's spouse; The "bum" who the spouse debases herself with is, in fact, her husband dress as a bum.The wife of the adjuster gives the censored pornography to her sister. Her sister derives some peace from watching it. Why she feels this way is never explained.And now here is my review of this wonderful, if less-than-transparent film.I had already seen 1989's Speaking Parts and enjoyed it enough to see this film upon its release. The way Atom makes pictures; (with much more said in silences or physical and psychological violence than is often imparted in dialogue) seems to have been set early. They have an almost painful to watch edge to them. And, like challenging art, is often difficult to fully realize upon a first viewing.This is also not my favorite film by this director. I love many aspects of this film. And I especially enjoy the heightened sense that reality is about to splinter that this film expresses so well. But my favorite is still Exotica. The Sweet Hereafter is too Hollywood and just not as devastating. But The Adjuster has some of the best stick-in-your-mind images. It is impenetrable in spots. It refuses to give you all the answers. It has a "happy" ending if you can call avoiding death "happy." But most of all it gives you entrée into a world you'd never see without this engraved invitation. No, this film is not for everyone. I am not going to bash folks who don't get it/like it. It is their prerogative. But for folks like me, folks who love Amadovar, Fellini and some of the other great filmmakers who show us the seamier side of life, then this is a very good, if not quite great film.

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.

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.