Subject: Review: Minority Report (2002)

From: Edward Johnson-Ott <[email-masked]>
Date: Wed, 19 Jun 2002 19:19:05 -0000

Minority Report (2002)
Tom Cruise, Colin Farrell, Samantha Morton, Max von Sydow, Lois Smith,
Peter Stormare, Tim Blake Nelson, Steve Harris, Kathryn Morris, Mike
Binder, Daniel London, Spencer Treat Clark, Neal McDonough, Jessica
Capshaw, Patrick Kilpatrick, Jessica Harper, Ashley Crow, Arye Gross,
Jason Antoon. Music by John Williams. Screenplay by Scott Frank and Jon
Cohen, based on the short story "The Minority Report" by Philip K. Dick.
Directed by Steven Spielberg. 137 minutes. Rated PG-13

Review by Ed Johnson-Ott, NUVO Newsweekly http://www.nuvo.net
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"Minority Report" is the kind of movie that sticks with you. The
futuristic noir thriller pulses with fascinating ideas, memorable images
and thrilling action sequences. Director Steven Spielberg has managed to
give a series of fantastic concepts an impressive sense of
verisimilitude. He delivers what this summer has screamed for – an
A-list movie that both entertains and resonates.

While designing his vision of life in 2054, Spielberg gathered experts
in technology, environment, crime fighting, medicine, health, social
services, transportation, computers and other fields, asking them for a
reasonable projection of what society will be like a half century from
now. The results are dazzling. Automated cars whisk travelers to their
destinations vertically as well as horizontally, using a
magnetic-levitation traffic system. The computers in retail stores scan
the retinas of customers and make audio-visual shopping suggestions
based on their purchase histories. People verbally interact with their
home appliances and view home movies on holographic 3D projectors.

But this is no "Jetsons" future. Personal privacy has virtually
disappeared as new government programs protect citizens, while
dissolving the last vestiges of civil liberties along the way. Chief
among these is the Pre-Crime program that has kept Washington D.C.
murder-free for the past six years. Detective John Anderton (Tom Cruise)
is the leader of the Pre-Crime division of the Justice Department, which
uses visions culled from a trio of Pre-Cogs – psychics kept in a
fluid-filled, womb-like chamber – to arrest murderers before they are
able to commit the physical act.

Although the program is controversial, its success has resulted in a
pending national referendum that will determine if the system will be
employed across the country. In anticipation of increased scrutiny, the
Justice Department sends in expert Danny Witwer (Colin Farrell) to audit
the agency. The aggressive former seminarian pokes into everything,
making Anderton more than a little nervous, especially when his boss,
Lamar Burgess (Max von Sydow), informs him that the higher-ups are
poised to take over the program.

And then it happens. Anderton receives images from the Pre-Cogs showing
him murdering a stranger 36 hours from that moment. Convinced that he is
being framed, the lawman lights out to prove his innocence, while his
own Pre-Crime officers, led by Witwer, try to apprehend him.

But avoiding detection in 2054, where citizens are tracked almost
everywhere by tiny, retina-scanning cameras embedded in walls and
appliances, and by small tracking devices that look like shiny steel
spiders, is nigh impossible. In desperation, Anderton heads for the
slightly less monitored slums, using drastic (and gross) measures to
remain free. Eventually, he ends up meeting with Iris Hineman, one of
the creators of the system, who informs him of a possible way to
vindicate himself. But her revelations include facts that would shake
the very foundation of the Pre-Crime program.

The Philip K. Dick ("Blade Runner," "Total Recall") story, first
published in a 1956 issue of "Fantastic Universe," seems especially
relevant in the post-Sept. 11 world, as the American government
repeatedly comes up with reasons to "modify" civil liberties in order to
combat terrorism. We fret about the erosion of basic freedoms while
grudgingly agreeing that the steps are necessary safety measures,
something we must put up with, at least for a little while. But how much
should be given up, and when, if ever, should it end?

The Pre-Cogs remind me of all the innocents sacrificed "for the greater
good." The three seers, a woman and a set of twin brothers, are treated
not like human beings, but as cogs in a machine. They are bathed in a
fluid intended as both a biological nutrient and a medium that helps to
channel future visions into their heads, filtered so they see only
murder. One of the most powerful images in the film comes late in the
story, as a Pre-Cog named Agatha (Samantha Morton), separated from her
peers, shivers in the arms of an outsider and asks, "Is this now?"

In the person of John Anderton, we see what can happen when a man puts
his faith totally in a system. One horrible day years earlier, Anderton
lost his young son, and his subsequent grief consumed him, finally
driving away his wife Lara (Kathryn Morris). He found refuge in his
work, secure in knowing that he was sparing others from similar pain,
but the frame-up indicates that something is wrong with Pre-Crime.

If you're concerned that I've revealed too much about "Minority Report,"
relax. This is a film with a rock solid story and a wealth of peripheral
ideas, too many, I suspect, to take in with a single screening (A
viewing tip: When it appears obvious that the film is about to end,
settle back into your seat, because the ride is not over).

Steven Spielberg conducts "Minority Report" with as much style and skill
as Anderton shows when directing the transparent panels of the Pre-Crime
computer. Above all, Spielberg's focus is on telling a good noir story.
He treats the futuristic gadgetry in a matter of fact fashion, following
the characters and not the toys. Cinematographer Janusz Kaminski, who
has worked with the director on every production since "Schindler's
List," helps establish and maintain the dark, gritty motif with bluish
lighting that puts the emphasis on shadows, using a bleach bypass
process in developing the film to desaturate the colors. The result is a
future with a great lived-in look.

Composer John Williams, teaming with Spielberg for the 19th time,
contributes a subdued score appropriate for the suspense genre. In the
press notes, Spielberg states, "I think all of John's previous work has
been in 'color,' but this score is more experimental. You feel it more
than you hear it." I'll buy that, as the only thing I remember about the
music is that it never overwhelmed the proceedings.

The film also boasts some terrific acting, with Tom Cruise and Colin
Farrell leading the way. Cruise gives a powerhouse performance, neatly
capturing the varying aspects of John Anderton's personality without
ever falling into bathos. Meanwhile, Colin Farrell gets the opportunity
to show the world why the nine of us that saw "Tigerland" raved about
him. Farrell commands the screen as easily as Cruise, but is skilled
(and smart) enough to share the space. All this guy needs is the right
starring role and he will shoot straight past the moon.

Samantha Morton, who managed to win hearts in "Sweet and Lowdown"
without ever saying a word, is equally impressive in the nearly silent
role of Agatha, breathing life into the trapped soul right before our
eyes. Max von Sydow is effective as "the father of Pre-Crime," although
his character is the most obvious one in the film, and Lois Smith takes
her brief appearance as system co-creator Iris Hineman and leaves an
indelible impression with a intelligent and tart performance.

The rest of the cast, starting with Steve Harris (briefly free from the
godawful TV series, "The Practice") as Jad, Anderton's Pre-Crime
partner, turn in colorful supporting performances. In fact, one of the
only problems with the film is a short period where Anderton's travels
from one colorful supporting player to another becomes overly
repetitive.

Despite that brief saggy stretch and a late-in-the-game monologue from
Agatha that left me scratching my head, "Minority Report" is a dark
treasure. In 2001, both Steven Spielberg and Tom Cruise released edgy
films ("A.I. Artificial Intelligence" and "Vanilla Sky," respectively)
that left some fans groaning. I suspect that the men will hear very few
complaints this year.

© 2002 Ed Johnson-Ott

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