Though the film toys with the notion of free will in a deterministic universe, this is not so much a movie of grand ideas as forward-looking ones. Its depiction of a near-future filled with personalised advertising and intrusive security devices that relentlessly violate the right of anonymity is disturbingly believable. Ultimately, though, it's a chase movie and the innovative set-piece sequences reveal Spielberg's flair for staging action. As with A.I. before it, there's a nagging feeling that the all-too-neat resolution is a Spielbergian touch too far: the movie could satisfactorily have ended several minutes earlier. Although this is superior SF from one of Hollywood's greatest craftsmen, it would have been more in the spirit of Philip K Dick to leave a few tantalisingly untidy plot threads dangling. --Mark Walker
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Editorial
Amazon.co.uk Review
Full of morally flawed characters, and shot in grainy desaturated colours, Steven Spielberg's Minority Report is futuristic film noir with a far-fetched B-movie plot that's so feverishly presented the audience never gets a chance to ponder its many improbabilities. Based on a short story by Philip K Dick, the film is set in the Orwellian near-future of 2054, where a trio of genetically modified "pre-cogs" warn of murders before they happen. In an SF twist on the classic Hitchcockian wrong-man scenario, Detective John Anderton (Tom Cruise) is the zealous precrime cop who is himself revealed as a future killer. Plot twists and red herrings drive the action forward, and complications abound, not least Anderton's crippling emotional state, his drug habit, his avuncular-yet-sinister boss (Max Von Sydow) and the ambitious FBI agent Witwer (Colin Farrell) snapping at his heels.
CRUISE & SPEILBERG - DARK, BROODING AND MAGNIFICENT
Review date: 2008-08-18 Rating: 8 out of 10
Based on the novel by Sci-fi god Philip K Dick, Minority Report was Stephen Speilberg's stab at creating a dark and thoughtful futuristic who-dunnit in the mold of Blade Runner. Whilst it's not quite in the same league, Minority Report is still one of the most intelligent and best looking films Speilberg has had a hand in. His choice of pretty boy Cruise as his embattled lead is also inspired - pasty, hair shorn, close to emotional and physical breakdown - old Tom does a fine job playing against type.
The story involves 'Pre-Cogs' - people who can 'see' future crimes before they happen - the ultimate agenda being to totally eradicate murder and serious crime. When Cruise gets accused of a 'future' murder he goes on the run and is hunted by his former colleagues and friends.
What follows is a mix of old fashion thriller, action movie and a twisting detective story that keeps you guessing and enthralled until the satisfying conclusion. The fact that it's all played out against a futuristic and often visually stunning sci-fi backdrop is almost irrelevant.
Max Von Sydnow and Colin Farrell (in a very early supporting role) also give impressive performances and the whole film is smart and, for Speilberg, very dark and occasionally violent.
Despite, generally very favourable reviews, Minority Report didn't perform as well as expected on it's initial cinema release. It's far superior to the Speilberg/Cruise adaptation of War Of The Worlds which followed a few years later and also posessed a similarly dark and brooding look & feel.
One of Stephen Speilberg's lesser films, in the public's eyes at least, Minority Report is a sizzling Sci-fi thriller that just happens to look amazing. Definately worth re-investigation - and the scene with the fridge will turn your stomach.