The Adjustment Bureau. Matt Damon is a candidate for Senate in New York, pretty much a carbon copy of George Clooney’s presidential candidate in The Ides of March – smart, iconoclastic, liberal, not the kind of guy to admit he wouldn’t support the death penalty for the murderer of his wife. He finds his true love (Emily Blunt) before a big speech and then on a bus and there is a real connection. But his path leads to higher things than true love. Sooooooooo . . . .
A bunch of angels (Anthony Mackie, John Slattery and eventually, ponderously, Terence Stamp) in ridiculous fedoras do all in their power to keep Damon away from Blunt and “on his plan.” And their power is impressive, except when it is not. So, they can freeze time and inject an idea into the mind of Damon’s campaign manager, but when Damon and Blunt are close, the best they can do is jam land lines and ensure that a cab won’t stop for Damon.
A decent premise (true love conquers all, even angels who have us on a predestined course) is destroyed by failure to let us in on the rules of what angels can do and cannot do (apparently, their powers are weakened near water, ala’ the aliens in Signs). Worse, the “Mad Men” hats the angels wear are actually powerful. They can open doors. Not in the “a well dressed man can get the right doors opened” way but in a “wearing this hat can get doors of teleportation to open.” And before you can say Ben Braddock, Damon is interrupting Blunt’s wedding.
“How do I look in this? Really.”