Tom Cruise stars as a cop pursued by his own colleagues in this Steven Spielberg-directed adaptation of the short story by sci-fi writer Philip K. Dick ('Blade Runner', 'Total Recall'). John Anderton (Cruise) works for the Pre-Crime Division of the Washington DC police force, a special unit which acts on information obtained from mutants with pre-cognitive abilities in order to prevent murders before they have been committed. When the mutants have visions of a murder carried out by Anderton himself, the cop goes on the run and attempts to prove his own future-innocence. But no matter how hard he tries, Anderton cannot stay hidden from the city's advanced surveillance systems for long.
Full of flawed characters and shot in grainy de-saturated 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, Minority Report
is set in the Orwellian near-future of 2054, where a trio of genetically modified "pre-cogs" warn of murders before they happen. In a sci-fi 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. 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. Though 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.
--This text refers to an out of print or unavailable edition of this title.