In 2074, when the mob wants to get rid of someone, the target is sent into the past, where a hired gun awaits - someone like Joe - who one day learns the mob wants to 'close the loop' by sending back Joe's future self for assassination.
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 system's flawlessness steadfastly. However one day the Pre-Cogs predict that Anderton will commit a murder himself in the next 36 hours. Worse, Anderton doesn't even know the victim. He decides to get to the mystery's core by finding out the 'minority report' which means the prediction of the female Pre-Cog Agatha that "might" tell a different story and prove Anderton innocent. Written by
The adaptation of the short story "The Minority Report" by Philip K. Dick was originally planned as a sequel to Total Recall (1990) by writers Ronald Shusett and Gary Goldman (later joined by Robert Goethals). The setting was changed to Mars with the Precogs being people mutated by the Martian atmosphere, as established in the first film. The main character was also changed to Douglas Quaid, the man played by Arnold Schwarzenegger. The project eventually fell apart but the writers, who still owned the rights to the original story, rewrote the script, removing the elements from "Total Recall". This script was eventually tossed out when writer Jon Cohen was hired in 1997 to start the project over from scratch. The only original element from the early script which made it to the final film is the sequence in the car factory, an idea that Steven Spielberg loved. See more »
When Anderton tumbles into the yoga class after jumping from his car, the Asian yoga student in the green leotard is flat down on her chest. In the next shot, the same yoga student is up on her hands. See more »
Pre-Crime Public Service Announcer:
Imagine, a world with out, murder. 6 years ago, the homicidal rates had reached epidemic proportions. It seemed that only a miracle could stop the blood shed, but instead of 1 miracle, we were given 3, the precognitives. Within 3 months of the precrime program, the homicidal rates in the District of Columbia had reduced 90 percent.
6 Years in the precrime prgram, and there hasn't been a single murder.
Pre-Crime Public Service Announcer:
Now, the system can work for you.
Attorney General Nash:
We want to make sure that this great system is what will ...
[...] See more »
The distributor and production company credits look like they are underwater, which ties into the opening shot of Agatha in the tank. See more »
Dick's Paranoia Watered Down to Hollywood Chase Flick
I went to see "Minority Report" as a Philip Dick fan, not for Tom Cruise.
As soon as I heard he was cast, I knew he was either mis-cast or the movie would substantially change the original story. Ed Harris would have been a brilliant choice for Dick's intent in showing a mid-life crisis of faith with bureaucracy, and more logically setting up the conflict with his older (Max von Sydow as his usual craggy self) and younger (terrifically aggressive Colin Farrell) competitors.
In Dick's story the titular discovery is a shocking revelation of the bankruptcy of policy-making behind bureaucratic intent, whereas here it's just a means to an end for Cruise's character to clear his name. Instead we get an action story that grafts Dick's story outline onto a tribute to George Lucas's brilliant student thesis project "THX-1138," which he himself later expanded into a feature film; I always cite those films as the best visual analysis of bureaucracy. I guess Spielberg wasn't satisfied that we never really knew what the politics were in Lucas's films so he provides explicit reasons via a personal rather than systemic conspiracy theory for the chase and an optimistic conclusion.
On its own, we get a rippling Hollywood chase movie with a soupcon of the old "The X Files" paranoia, now newly relevant about our Justice Dept. arresting people, and even several laughs.
The cinematography for the future is wonderfully metallic and there's so many clever CGI's that the long credits list three "in memoriam"s to colleagues.
Lois Smith is very effective as a cynical inventor, reminding me of the last time an older woman made a key appearance in a sci fi epic, "Outland" in a role not necessarily written for a woman.
John Williams's music is interferingly bombastic.
(originally written 7/5/2002)
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