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Minority Report (2002)

 -  Action | Mystery | Sci-Fi  -  21 June 2002 (USA)
7.7
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Ratings: 7.7/10 from 344,392 users   Metascore: 80/100
Reviews: 1,313 user | 253 critic | 37 from Metacritic.com

In a future where a special police unit is able to arrest murderers before they commit their crimes, an officer from that unit is himself accused of a future murder.

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(short story), (screenplay), 1 more credit »
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Nominated for 1 Oscar. Another 16 wins & 63 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Jad
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Pre-Crime Cop
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Pre-Crime Cop
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Pre-Crime Cop
Klea Scott ...
Pre-Crime Cop
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Pre-Crime Cop
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Sarah Simmons ...
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Office Worker
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Storyline

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 Soumitra

Plot Summary | Plot Synopsis

Taglines:

The Future Can Be Seen. Murder Can be Prevented. The Guilty Punished Before the Crime is Committed. The System is Perfect. It's Never Wrong. Until It Comes After You. See more »


Motion Picture Rating (MPAA)

Rated PG-13 for violence, brief language, some sexuality and drug content | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

21 June 2002 (USA)  »

Also Known As:

Second Sight  »

Box Office

Budget:

$102,000,000 (estimated)

Opening Weekend:

$1,543,533 (Japan) (6 December 2002)

Gross:

$15,916,084 (Japan) (31 January 2003)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

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Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Janusz Kaminski is a regular cinematographer on Steven Spielberg's films. When Spielberg approached him for Minority Report (2002), he told him to create "the ugliest, dirtiest movie" either of them had ever made. See more »

Goofs

When Anderton brings Agatha (Precog) to Rufus T. Riley club, Anderton turns head and they both look at Rufus. A camera shot from behind shows Anderton turn his head a second time. See more »

Quotes

John Anderton: No doubt the precogs have already seen this.
Lamar Burgess: No doubt.
John Anderton: You see the dilemma don't you. If you don't kill me, precogs were wrong and precrime is over. If you do kill me, you go away, but it proves the system works. The precogs were right. So, what are you going to do now? What's it worth? Just one more murder? You'll rot in hell with a halo, but people will still believe in precrime. All you have to do is kill me like they said you would. Except you know your own future, which means you can ...
See more »

Crazy Credits

The cast list during the closing credits is divided into the following categories: Pre-Crime, FBI, Pre-Cog Chamber, The Greenhouse, Department of Containment, Pre-Crime Witenesses, Anderton's Family, Victims & Killers, The Mall, The Chase, Operating Room & Tenement Bldg., The Ballroom, And (miscellaneous cast members), Commercials, & Stunts See more »

Connections

Referenced in Pastor Mike Online: Beltane, Rednecks and Aliens (2013) See more »

Soundtracks

The Neuroflex
(2002)
Written, Produced and Performed by Paul Haslinger
See more »

Frequently Asked Questions

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User Reviews

 
One of the rare, great science fiction movies
20 June 2002 | by (Canberra, Australia) – See all my reviews

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 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.


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