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
Elements from the original short story that the screenplay is based on included more details about the Pre-Crime Unit. The data was double-checked by the military to ensure that the Pre-Crime officers would not be bribed by any future murderer to conceal the evidence. The Pre-Cogs worked on different time levels which accounted for any minor discrepancies that their premonitions had. They mumbled and their incoherent words were deciphered in audio tapes. Their data could be fabricated and in the story this is exactly what happens since the first vision is revealed to be a fake one. The screenplay however omits all these details in favor of a visual display of the precognitions. See more »
In the alley where the police are attempting to subdue Anderton, he takes a sick stick and pokes one of the policemen who vomits immediately, but the vomit is coming from "below" his mouth - the "vomit tube" is mis-positioned on the left side of the actor's face. See more »
Lamar thinks you left John because he lost himself in Precrime instead of you.
[glares at him]
I left him, because everytime I looked at him, I saw my son. Everytime time I got close to him, I smelled my little boy. That's why I left him. And now you can leave.
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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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