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Plot: In the year 2054 A.D. crime is virtually eliminated from Washington D.C. thanks to an elite law enforcing squad "Precrime". They use three gifted humans (called "Pre-Cogs") with special powers to see into the future and predict crimes beforehand. John Anderton heads Precrime and believes the… Runtime: 145 min Release Date: 21 Jun 2002
Minority Report is one of the top films of 2002 (by fsuplaya2003)
I read a lot of previous posts about this movie. This is one of the best films of the year, and of recent years. This is a perfect blend of action, suspense, thrills and film-noir. The plot is intelligent and fresh. People saying it is not original must have slept through the movie. Tom Cruise is fantastic, Colin Farrell is amazing, as well as Samantha Morton. Spielberg again proves that he is the master of cinema. A truly great director. I'll agree, the ending was a little too happy, but not worth complaining about. This film is not about product placement as previously suggested, it is <more>
simply a entertaining and yet realistic glimpse of what our future may look like, as advertising becomes more advanced and intrusive. The film creates many moral questions and issues, and should leave you thinking. Is being arrested for doing something you actually havn't commited yet fair? It is worth seeing again and again. As a film lover and critic, i can say it is one amazing movie.
One of the best/most complex science fiction films (by will_liao)
Steven Spielberg sets Minority Report in the near future of 2054, in which the technology is advanced, but not far-fetched. Cars can drive themselves and ride up elevators, computers come with holograms as a user interface, and stores recognize you from your eyeball scan. As all science fiction fans know, however, the genre is not about technology but about ideas. The big idea for Minority Report is based on a short story by the venerable Philip K. Dick. In this future, there is a "pre-crime" unit in the police force, which revolves around three psychics who are able to see violent <more>
crimes before they occur. These visions are projected in a flat screen panel and manipulated by detectives with the grace of a symphony conductor. Equipped with futuristic stun guns, jet packs, and search robots, these cops then arrest and intern the criminals before the crimes are committed.We learn all this in the first ten minutes of the movie. After this introduction, the plot really starts when Detective John Anderton Tom Cruise finds out that the precogs saw him kill someone, someone that he has never met. He finds himself in a race. With the forced recruitment of a precog, Agatha Samantha Morton , he must clear his name before the predetermined murder. All the while, his old buddies, now helped with a special agent from the FBI Colin Farrell , are trying to track him down.Spielberg, with Janusz Kaminski, his cinematographer for many films, have crafted a visually stunning movie. The special effects are seamlessly incorporated of the world they created. The muted blues echo the style of black & white film noirs. John Anderton is similar to noir's morally ambiguous characters--a good cop with an illegal habit that is forced by circumstances and desire to betray the very things he loves.But this is not just a special effects or mystery movie. The characters, all well drawn, are supremely acted by the cast. Tom Cruise is a good physical actor and he shows it here. By the way he sits or walks, we can intuit the grief and confusion that's going through him. Samantha Morton does a good job of portraying a haunted young lady who has seen too much. Colin Farrell skillfully balances the ambitious and professional sides of his character. As always, Max von Sydow authoritatively plays the respected father figure.This is one of my favorite Science Fiction films. I would also recommend the following films. These I think influenced Minority Report."The Maltese Falcon" ~ film noir "A Clockwork Orange" ~ science fiction "Blade Runner" ~ science fiction also based on a Dick story ***** out of *****
One of the rare, great science fiction movies (by Spleen)
It's an open secret: the Oscar is jinxed. Spielberg's triumph with "Schindler's List" was followed by the longest hiatus of his career, which was broken with ... "Jurassic Park II", a lifeless sequel of the kind you'd once have sworn he'd never make - the single worst and most anonymous movie he's ever directed "Hook" had its moments . His next two films were improvements there was nowhere to go but up : the first anonymous but not bad "Amistad" , the second bad but not anonymous "Saving Private Ryan" , but they <more>
were both pompous gestures which appear to have been designed to win still more awards; and it wasn't until eight years after "Schindler's List" that the skilled director of old times re-appeared with "A.I." in 2001 .But he's well and truly back now, and I'm happy. I've even learned to welcome it when he makes decisions which infuriate me, so long as he makes them with the right kind of self-assured arrogance. I didn't like the voice-over at the end we didn't need to be told that stuff; we could have worked it out , or the way he caved in to the modern tendency to be needlessly revolting at least he don't play his gross-out moments for cheap laughs , or even the style of photography it's easy to manipulate us into thinking the future is a grim place, if you push-process the film until even the images which in the normal course of events would be luscious and rich, are grimy and desaturated - there are other ways of getting colourless images, as Spielberg well knows, and many of them are better . Yet, in the end, big deal. The story is a knockout, the action is taut, the future rich, dazzling and believable. Spielberg is to be particularly congratulated on how completely he has avoided the unimaginative dystopia of "Blade Runner". The future we see here is a MIX of dream and nightmare, so convincing a mix that we can't always tell them apart.Here's a measure of how good the movie is: in an interview, Spielberg revealed that he completely misunderstood the issues which drive the stories - and there's simply no way of telling this from the finished product. Unless Spielberg was just opportunistically latching on to the hook forced on him by a dim-witted journalist, he THOUGHT the movie was about how much freedom we are willing to give up in exchange for safety in order to prevent terrorist attacks, for instance . This is interpretation is strained. Three people the precogs do indeed give up their freedom in order that millions of other people may be safer, and yes, there is an issue here. When one of the Crime Prevention officer says, "It's best not to think of them as human", I was surprised to find myself nodding in agreement. The benefits of the system are so great that OF COURSE I'd rather not look too closely into the burden that must be borne by three - just three - individuals. Aside from the three unfortunate precogs, nobody is asked to give up any freedom at all. Except, of course, the freedom to commit murder. But under the law we are already unfree to commit murder, and a good thing too. The interesting issues that DO fall naturally out of the story concern the futility of revenge. After people who would otherwise have committed murder are prevented from doing so, they're sent to prison anyway, presumably on the grounds that that's what they deserve - and no doubt it IS what they deserve. But it's clear enough that locking these people up, however much it may be in the interests of justice, serves no purpose. It's exacting revenge on criminals for the sake of exacting revenge - which is exactly what the U.S. justice system is committed to doing at the moment, which is why the future is a realistic one. Apart from the precognition, that is. Anderton's mistake is to believe in the value of revenge, and he's never more admirable than when he realises his mistake. THAT was a great scene; it's a pity I can't tell you exactly why. Suffice it to say that when we think we know where the story's going, we may indeed know where the story's going - but Spielberg is only allowing us to see so much of what's coming up in order to obscure the rest of it. The final sign that Spielberg is again at his peak lies in the performances. They're all good. Tom Cruise's weakness as an actor is that he is only ever as good as his director, and the fact that he's so good here means that "Minority Report" was directed by the real Spielberg, the old Spielberg, the Spielberg with the same ability Charles Dickens had to make even his most grotesque creations, and even his LEAST grotesque, come to life.
The future, we are told, are what we make of it. Philip K. Dick did not want to take that chance, so he wrote many many many short stories about the future of man and where we, as a society, were headed. Blade Runner, Total Recall, Paycheck, Screamers, and Minority Report are all short stories written by Dick about the future that have been turned into a movie, and most have a less than enthusiastic view of where we are headed. In Minority Report, we see the effects of predicting the future to the point of crimes are prevented by arresting murderers before they kill. If that does not appear <more>
logical, there is a quick little scene early in the movie that addresses those concerns, and on the surface makes sense. Tom Cruise plays the Washington, DC pre-crime chief, John Anderton, who runs the investigators who rely on 3 scientifically engineered beings who can see murders before they happen. The system, of course, raises civil liberty issues, but seems to work perfectly, that is until Anderton is fingered for a murder. The rest of the movie, Anderton tries to not only prove that he is innocent, but also that he was set up, possibly by an oily Department of Justice figure who is investigating Precrime before it goes national after an election, played by Colin Farrell. Directed by Steven Spielberg, Minority Report plays as both a "Whodunnit?" and a futuristic exercise of science fiction. Much time was spent on designing the Washington, DC of the 2050s, including cars that run on magnets, virtual reality stations, and much more throughout the film. The most interesting design is of the "sick sticks" used by cops to bring down criminals. The blueish tint given to the film also gives us a cold feeling, a future that is not as loving or as hospitable as the time we live in, another trait of a Dick story. A wonderful movie the works for both the crime buff and the science fiction fan.
Underrated & A Film To Think About (by ccthemovieman-1)
This gets high marks for being an involving film that, despite a long length of almost two- and-a-half hours, keeps ones interest all the way. Being a Stephen Spielberg-directed film, it's no surprise that the photography is first-rate. This is nice-looking movie. Tom Cruise also was very good in here, not the obnoxious character he sometimes portrays or did more often in his younger days. .The film is a good mixture of action and suspense. Only the one chase scene was overdone with Rambo-like mentality of the good guys not getting hit when they should, and vice- versa.The subject matter <more>
is interesting, too: what would do you or the police had very reliable information on crimes that were about to be committed, that you could prevent things from happening before they actually did?I recognized two people in here who went on shortly thereafter to become recognizable in TV series: Kathryn Morris "Cold Case" and Neal McDonough "Boomtown" . Add Colin Farrell, Max Von Sydow, Samantha Morton and you have an interesting cast. I am of the opinion that this is one of Spielberg's underrated gems.
In the world of the blind, the one-eyed man is king (by Anonymous_Maxine)
This is spoken in Minority Report by a drug-dealer on the streets with no eyes at all, so I suppose its free advice for John Anderton, our hero, or a bit of wise-sounding advice meant to get across to the audience but with no other good place for it to fit in the film. This is fine with me, too, because Minority Report is such a taut futuristic thriller that an incongruous little bit of wisdom like this is not to have any negative impact on the film as a whole. John Anderton, played with precision by the great Tom Cruise oh shut up, the man's awesome , is the chief of the Pre-Crime <more>
department in the District of Columbia, which has successfully eradicated murder entirely for the last six years. He works with a group of `pre-cogs' that, together, dream of murders that have not yet taken place and project enough information for Anderton and his team to watch the video emanating from their heads to determine where and when the murders are to take place and to get to those locations and stop the murders from happening before they happen. This is obviously a formula for a highly successful action movie, but the thing that really makes Minority Report succeed is that it pays so much amount of attention to things that would occur in this situation in real life. It is explained very early in the film that the invention of Pre-Crime has eradicated premeditated murder, as this is most easily detected by the pre-cogs. The majority of the `business,' then, of the Pre-Crime division in the District of Columbia, are crimes of passion. This not only provides the possibility of a lot more tension in that these crimes leave a lot less time for prevention, but also avoids complicating the plot with the details of premeditated murders. We don't care about a guy who wronged another guy five years ago or drug deals gone bad, all we need to hear about are a guy who comes home to find his wife in bed with another man and loses control. Given the fact that the movie involves some sort of time-travel even if information is the only thing traveling through time , it leaves itself open to criticism about plot holes. This is obvious, because plot holes like this even permeated the unparalleled Back to the Future series, which obviously had plenty of plot holes but handled them spectacularly well. Given the amount of movies that I have seen that involve time travel, I have come up with this equation: Time Travel Plot Holes. This is a universal equation that is never escaped, but it does not mean that any movie that involves time travel will be brought down by the subsequent and unavoidable plot holes. Minority Report did not suffer from its necessary plot holes and neither did the timeless Back to the Future series which has FINALLY been released as a complete set and which no respectable movie collection could possibly be without . My esteemed colleague and close friend Christopher Brown see his brilliant reviews at http://us.imdb.com/CommentsAuthor?625436 points out one of these plot holes in his review of Minority Report, but makes the mistake of suggesting that, given the nature of the precognition and of the crime itself, Anderton's murder should never have been predicted since it did not entail premeditation. Sorry, Chris, but you've missed the boat on this one. The only thing that this does is bring up the fact that it's impossible to tell where precognition starts. It could be argued perfectly well that the pre-cogs played a part in their own precognition. They predicted that Anderton would commit the murder under the circumstances that he would have been watching the thoughts of the pre-cogs and seen that he would commit murder, and then obviously sought to find out for himself how he could have been expected to commit a murder against a person he has never heard of. In this case, if he had called in sick that day, all of this would have been avoided. But he's the best at what he does, he has personal reasons for wanting to stop murder, he does not slack off, he does not call in sick. John Anderton was predicted by the pre-cogs to commit murder because he was at work that day. The action in the film comes from the possibility that the whole prediction of Anderton's murder might be what is called a `minority report,' where the pre-cogs disagree on something that is going to happen. If he can prove that only one of the pre-cogs came up with the vision that he was going to commit a murder, it might cancel out the entire prediction because it is unreliable. On the way to this goal, we are presented with everything from a tremendously dedicated investigator played brilliantly by Colin Farrell to some amazingly creepy but strangely accepted identification spiders that scan John's implanted eye in one of the more uncomfortable scenes in the film. Minority Report is one of the best and most unique thrillers to be released in years. It is the conglomeration of such a dizzying array of films that it is difficult to contemplate them all at once. We see elements of action films, futuristic thrillers, crime films, science fiction, and of course, the influence of Stanley Kubrick is never far off. There is even, especially in the later portion of the film, a heavy influence on the soundtrack by Bernard Herrman, who was the composer for most of Alfred Hitchcock's films, among many others. It's always nice to see such a respectful homage like that, and it is only one of the many things that makes Minority Report yet another addition to Steven Spielberg's extensive list of high-end films the last of which was the spectacular A.I. . The only thing I can think of that holds Minority Report back from joining Spielberg's list of timeless classics is that it does not have the scope as far as its target audience as such films as E.T. and Jurassic Park. However, despite not having quite as large of a target audience, Minority Report stands as a strong entry in Spielberg's growing list of great films.
The beginning of Minority Report engages the audience with mise en scene to establish a genre. The audience can easily see that the film is set in the future due to the bright lighting and a blue overlay colour. This implies cleanliness and a utopia. However due to the atmosphere created by the dark shadows and low saturation of the colours an implication is created that this futuristic world may not be a utopia but a dystopia. It gives a sense that without colour in the world there is no emotion and people actions are now based on what a machine says rather that acting on human instinct. In <more>
detective films in the present, the police station is often seen as a messy but friendly place with coffee mugs and paper everywhere. But in Minority Report the police station is empty; even the lights seem to dark and have no impact of the white surfaces. This may reflect Spielberg's views towards the future. That in fact the future may appear to be perfect but is actually the opposite.This idea of Spielberg's ideology is a recurring theme throughout the film. Near the beginning of the film there is an advert to promote the use of the pore-cognatives to encourage the use of pore-crime nationwide. This suggests there will be no more suffering and everything will be right in America. However, there is a false sense of security throughout the film. The scene of the promotional advert leads straight into the complete opposite; of the hero 'John Anderton' running onto a dark alley looking to buy drugs; and buys them from a man who sold his eyeballs for money; which is a common thing to do in future the audience finds out. This is a clear message about the opposing views there may be in the film and not just those of Spielberg. In a way it reflects America in the present also. While many Americans enjoy the good life and are wealthy, just as many live in very poor conditions. These two extremes have been brought out into the open in the film.The film may well have been designed to attract the male audience as it is usually men who are drawn in by crime and detective films. However due to the level of action and the originality of the idea teenagers and young adults would find this film enjoyable. This interplay of detective work and action is cleverly placed throughout the film. A general story is introduced about the pore-cognatives and the hero is introduced. This is a detective moment where the pore-cogs foresee a murder. An action scene then follows as Tom Cruise John Anderton goes to prevent the murder which involves coming out of a helicopter and busting into a house. This is the action sequence. The whole film is played out like this and I believe this is how Spielberg manages to have more that one target audience.The film subtly hints that in the future the world will be over run by media and advertising. Where the adverts in the street actually refer to you by name and talk to you. Another idea of this entrapment is the eye recognition machines that track you where ever you are. This gives the implication that there is no freedom for the people of the future and that again like in the police station their lives are heavily influenced by machines and technology. This new idea of entrapment and inescapability adds to the imperfection of the future world which is presented to the audience.It is only as the film progresses and the hero is forced into the underbelly of city life that this idea of entrapment continues to the next level. He needs to run from the police but due to the inescapable future he cannot hide. Therefore he himself is lead to have his eyes removed and have new ones put in, so that he has a way past the claustrophobic machines and devices. But the future has another trick up it's sleeve. The use of robotic spider like creature which are designed to penetrate any home of place of holding. They then climb up you and scan you retina; which is much like a finger print, in that everyone has their own unique pattern, representing their individuality. So once again the idea of the future being like a prison that you cannot escape is brought around.In the end the designer of pore-crime Lamar Burgess turns out to be the villain. So the very man who was promoting the perfect-ness of the future turned out to be fake. Which is the final say in the idea that the future is misinterpreted and although appears to be all wonderful with problems is in fact the opposite. A place where poor people or people who have committed crimes, sell their eye balls as a means of escape from the world they live in.
If there's a flaw, it's human - it always is (by petra_ste)
Spielberg does it again. Minority Report is another fine film with a tone-deaf epilogue. It's hard to put my frustration into words. How many brilliantly crafted, intelligent science-fiction flicks do we get today? Very few... and, when one finally arrives, it ends with a whimper.But I should have seen it coming. Spielberg is a peerless visual storyteller, but he is an odd choice to direct a movie based on a story by a pessimist like Philip K. Dick. It's like John Hughes adapting Lovecraft.Minority Report takes place in a future where three "Pre-Cogs" can predict murders, so <more>
the Pre-Crime Unit led by John Anderton Tom Cruise can stop the killers in advance. When the Pre-Cogs see him shooting a man he doesn't even know, Anderton finds himself on the run, trying to unravel what's happening.Cruise, Colin Farrell, Max Von Sydow and Samantha Norton all give solid performances. For most of its running time the movie is clever, thrilling, fun, Spielberg at his best; there are some really neat scenes, like the vision of the first murder and Anderton's rush against time to prevent it, or the sequence with Anderton and Agatha evading the Pre-Crime.Alas, during its last act Minority Report collapses; it reaches several potentially interesting endings and ignores them all, choosing a sappy cop-out.Still, what precedes it is good enough to recommend the movie - if only to ponder what could have been.7,5/10
Before they joined forces to give sci-fi fans their hugely disappointing version of War Of The Worlds, Spielberg and Cruise worked together on Minority Report, a near-future tale based on a short story by Philip K. Dick in which violent crimes can be predicted and prevented from occurring, the perpetrator intercepted before they can carry out the deed. Star Cruise plays pre-crime cop John Anderton, who finds himself on the run after it is predicted that he himself will commit a murder.The good news is that Minority Report is a lot more enjoyable than the duo's H.G.Wells debacle, with an <more>
engrossing murder mystery plot, lots of great visuals, excellent production design, and some well executed and extremely fun action set-pieces, all of which help detract from the story's inevitable paradoxical issues and Spielberg's occasional, frustratingly unrestrained direction Cruise leaping from car roof to car roof on a towering vertical road stretches plausibility a bit too far, but at least it's not 'nuke the fridge' bad .7.5 out of 10, rounded up to 8 for the 'sick stick' a police baton that makes the victim projectile vomit.