a5c7b9f00b In Washington, D.C., in the year 2054, murder has been eliminated. The future is seen and the guilty punished before the crime has ever been committed. From a nexus deep within the Justice Department's elite Pre-Crime unit, all the evidence to convict–from imagery alluding to the time, place and other details–is seen by "Pre-Cogs," three psychic beings whose visions of murders have never been wrong. It is the nation's most advanced crime force, a perfect system. And no one works harder for Pre-Crime than its top man, Chief John Anderton. Destroyed by a tragic loss, Anderton has thrown all of his passion into a system that could potentially spare thousands of people from the tragedy he lived through. Six years later, the coming vote to take it national has only fueled his conviction that Pre-Crime works. Anderton has no reason to doubt it until he becomes its #1 suspect. As the head of the unit, Anderton is the first to see the imagesthey flow from the liquid suspension chamber where the Pre-Cogs dream of murder. The faces are unknown to him, but this time, the killer's identity is clear when Anderton will murder a total stranger in less than 36 hours. Now with his own unit tracking his every move, led by his rival Danny Witwer, Anderton must go below the radar of the state-of-the-art automated city, where every step you take is monitored. Because people can't hide, everybody runs. With no way to defend himself against the charge of Pre-Crime, John must trace the roots of what brought him here, and uncover the truth behind the questions he has spent the past six years working to eliminate: Is it possible for the Pre-Cogs to be wrong?
In the year 2054, a so-called "pre-crime division" is working around Washington, DC. Its purpose is to use the precog(nitive) potential of three genetically altered humans to prevent murders. When the three precogs, who only work together, floating connected in a tank of fluid, have a vision, the names of the victim and the perpetratorwellvideo imagery of the crime and the exact time it will happen, are given out to the special cops who then try to prevent the crime from happening. But there is a political dilemma: If someone is arrested before he commits a murder, can the person be accused of the murder, which - because of the arrest - never took place? The project of pre-crime, at the time being in a state of trial run, is going to be voted about in the near future. If people accept it, the crime rate is going to drop drastically, but it never will be known if there might not be too many people imprisoned, some or even all of them innocent. After John Anderton lost his son to a crime a six years ago, he took up drugs, and works the precog division like nobody else. One day, his own name arrives in the "perpetrator" chute, and the precogs predict that he will kill a man he never knew in less than 36 hours. John takes off, his trust in the system diminishing rapidly. His own colleagues after him, John follows a very small trace that might hold the key to his innocence, a strange unsolved yet predicted murder and a so-called "minority report", a documentation of one of the rare events in which a precog sees something different than the other two.
Spielberg's Minority Report is a sprawling, maddening, grotesque spectacle; a film that darts all over the place, catering for mainstream tastes in chase and action sequences but desperately trying to provide more substantial weight and content for the rest of us in the form of typically dystopian futures full of technology and modernity run amok; all the while complimented by wondrous visuals. Included in a number of top ten of the year lists when it was released and equally so for the decade, although mostly from American critics, mind; Minority Report's pompous and nonsensical attitude is matched only by its misjudged and somewhat misguided approach of romping through a beautifully created world, spawned entirely from computer generated imagery,fans of either Cruise and/or Spielberg get to attend their latest flick and tick off the genre conventions under a faux banner of entertainment.<br/><br/>The film, one of those from Spielberg that again sees him attempt to combine style with substance and filter them both through a number of genres so longthere's a glut of action in there somewhere, does not match what he achieved in the likes of Jurassic Park and Saving Private Ryan; films that maintained a steady sense of threat around a number of sequences that although contained a fair deal of action, saw overwhelming odds stacked against the characters we focused onsuperior forces moved in for the kill. Where once was genuine threat has been replaced with a hollow, inconsistent film-going experience. Minority Report sees a similar basis for a would-be action film unravel, but it feels unfocused and the scenes of chase twinned with the evasion of apprehension evoke more of a sense of excitement than a genuine sense of fear. Spielberg's maturitya director over the years has seen him be able to combine degrees of substance with his approach of providing a spectacle, and its been on display in the past through better films than this; but in Minority Report, he gleefully hops along from chase, to gross-out content, to flimsy cover-up narrative in what is a pretty ordinary film.<br/><br/>The film takes place in Washington D.C. It's the year 2054, a further example of a Spielberg film not set in the present day. It sees Tom Cruise's John Anderton worklaw enforcer at the 'pre-crime' unit, a branch that sees future crimes before sending units out and preventing them from happening. The opening murder takes place in one of those typical, supposedly idyllic American suburban neighbourhoods,a crime of passion plays out - something instigated by a married man going back for his glasses which, of course, enable him to 'see' everything better than he already can – there are a lot of references in the film to eyes, and the ability to 'see' stuff. Like many-a lone male lead living in far off dystopian futures, Anderton has a past tragedy he must live with, something that fast tracks development in a character and reveals the character's soon-to-be evident ability to deal with anything that comes his way – if he can suffer through the loss of his son and consequently live with it, he can wade on through anything, right? <br/><br/>Minority Report uses a harsh, would-be rough around the edges approach combined with a polished and generally gleaming aesthetic to attract crowds in order to produce something that wants to be gritty and edgy, but just comes acrosswell refined, pseudo and quaint. This,notions and ideas of 'looking' and 'watching' over the population by the state itself in this future world crudely evokes Orwell, while the exploration of these ideas are presented by way of daft, clumsily included quotes on behalf of supporting characters the lead casually interacts with; best highlighted when laugh inducing lines such"In the valley of the blind, the one eyed man is king" are uttered from a blind drug dealer. On another occasion; an ugly, naked, young woman whom lies in a shallow pool of water all day foreseeing the future, knowna 'cog', grabs the lead's arm and melodramatically asks him "Can you see!?" <br/><br/>The film's primary source of antagonism is a joke of a villain in Colin Farrell's suited, booted, stern faced bad guy named Danny Witwer; a guy who swaggers around issuing obligatory threats in an obligatory tone and jabbers some spiritual nonsense which makes him seem smarter/scarier than he actually is. His presence renders the film one in which a powerful, mostly unseen enemy hunts a somewhat harmless and decidedly innocent individual caught up in a fantastic predicament that wasn't any of their doing, combining this with a labyrinth of a narrative we loose all interest in long before it concludes. For better examples that come with more substance, see either 1959's North by Northwest or any of the first three Terminator films. Minority Report maintains a pretty nonchalant attitude throughout, it's more in awe of itself than we are. The film's extended screen time that it gives to shots of the technology at the pre-crime lab's disposal, very early on, when all the moving around of this and that on some screens are overly emphasised – the camera lingering on Cruise use the technology for longer than it needs to.<br/><br/>With a stuck up tone, a load of caricatures running around another world brought to life, but wasted on with a tired chase/corruption narrativewella distinctly misguided tone, Minority Report is a wavering mess; a truly daft experience running on empty. The worst scene is the occasion in which the lead stumbles into an over-sized greenhouse where an elderly woman lays out the entire film for us: pure exposition. For all the running around and evading capture, an awful lot feels like it gets done than actually is done. Spielberg would make edgier, more interesting films than this nonsense later on in the decade; see those attempts over this one.
May contain SPOILERS<br/><br/>This film is a brilliant sci-fi neo-noir, set in a futuristic Washington DC in which the Pre-crime initiative has eliminated murder within the city.<br/><br/>The effects are simply stunning, and the film succeds on all levels. Colin Farrell provides the films best performance, though Tom Cruise is solid enough. The remainder of the cast play their roles competently, though not brilliantly, but the film is so compelling that this is rendered immaterial.<br/><br/>I love classical music, so the parts of the film in which a future murderer is identified, where classical music is used, I found outstanding.<br/><br/>I've seen this film twice now, and none of the impact was lost upon my second viewing.<br/><br/>Among my favourite films of all time. 10/10
Spielberg takes assured control. In his hands, Minority Report is a classy, chilly quasi-Hitchcockian affair.
Grammophon GmbH. Hamburg Under license from Universal Music Enterprises. The music that is played on the organ is "Jesu, Joy of Man's Desiring" composed by Johann Sebastian Bach, from his cantata "Herz und Mund und Tat und Leben", BWV 147. She is singing a Swedish children's song about little frogs (Smaa grodorna). The lyrics describe how funny they are to look at with neither tails (ej svansar) nor ears (oeron). It's a fictional hallucinogen called Neuronin, street name is "Whiff". John uses it to deal with the disappearance of his son and his separation from his wife. Because it's a hallucinogen, it enhances the videos he watches of his family. John's use of whiff is to give his character a major flaw, to show he's not perfect. It's pretty obvious that Dr Hineman is quite eccentric, probably because she's been living in isolation for years. Also, she may have suffered a mental breakdown after the discovery of the pre-cogs - after seeing what she created and knowing that it would lead to their isolation from society, Hineman may have begun to feel some heavy-duty guilt over it. When she kisses John, it's a way to make her eccentricity more plain for the audience. Possibly because both source materials are by the same author. However, both films do not take place in the same timeframe,many have believed, the year is given when Anderton walks into Pre-Crime in the opening: 2054, while Blade Runner takes place in 2019. John Anderton (Tom Cruise) is a former Washington D.C. police officer, now a captain of an elite police force called PreCrime. The PreCrime Force uses three gifted teenage oracles called PreCogs to predict crimes that are about to take place in the future and with this knowledge, Anderton and the PreCrime officers set out to stop the crime before it is committed and because of PreCrime, the murder rate in the United States has dropped. But, Anderton becomes a hunted man, when the PreCog Agetha (Samantha Morton) predicts that Anderton will kill an unknown man called Leo Crow (Mike Binder) whom Anderton doesn't know and has never heard of and that the crime will take place in 36 hours Hunted by PreCrime officers and United States Department of Justice agent Danny Witwer (Colin Farrell) whom is determined to bring him down. Anderton sets out to find Crow and stop the crime from happening in 36 hours. This film is loosely based on the short story "The Minority Report" by Philip K. Dick. There are some differences between the book and the movie:<br/><br/>1. The story is set in New York City, while the film uses the backdrop of Washington, D.C., Baltimore, Maryland and northern Virginia.<br/><br/>2. PreCrime is a government branch in the story and a police department in the movie.<br/><br/>3. In the story, John Anderton is a 50-year-old balding, out-of-shape police officer who created PreCrime, while in the movie Anderton is in his late 30s, handsome, small, athletic, with a full head of hair, who joined PreCrime after his son's kidnapping.<br/><br/>4. Anderton in the story is older than his wife Lisa, while Anderton in the movie is younger than his wife Lara, who by the time of the events in the movie had left him because he reminded her of her son.<br/><br/>5. The precogs were originally named Mike, Donna, and Jerry, and were deformed and mentally impaired. In the film, they are called Agatha, Dashiell and Arthur after crime-story writers Agatha Christie, Dashiell Hammett and Arthur Conan Doyle. They are children of drug addicts, thier mutations made them to dream of future murders, which are captured by machines. They are "deified" by the PreCrime officers, and are implied to be intelligent (Agatha guides Anderton successfully through a crowded mall while being pursued by PreCrime, and the trio are seen reading large piles of books at the end of the film). In the end of the movie they retire to a rural cottage where they continue their lives in freedom and peace.<br/><br/>6. In the short story, Anderton's future victim is General Leopold Kaplan, who wants to discredit PreCrime in order to get more financing for the military. At the end of the story, Anderton kills him to prevent the destruction of PreCrime. In the movie, Anderton is supposed to kill someone named Leo Crow, but later finds out Crow is just a part of a set-up to prevent Anderton from discovering a different murder committed years ago by his superior, Lamar Burgess. At the end of the film, Anderton confronts Burgess, who commits suicide and sends PreCrime into oblivion.<br/><br/>7. In the short story, Anderton seeks the precogs to hear their "minority reports". In the movie, Anderton kidnaps a female precog in order to discover her own "minority report" and extract the information about a mysterious crime.<br/><br/>8. The short story ends with Anderton and Lisa moving to a space colony after Kaplan's murder. The movie finishes with the couple reunited after the conspiracy's resolution, expecting their second child. It's assumed, although the film doesn't explain, that the Temple uses different security than the system we see around the city. Clearly Anderton would be an expert on the Temple and the ways to bypass the security, so he was able to gain entry. It's also possible that there was a human error made in terms of assuming that Anderton would be caught before getting to the Temple, so his access wasn't cancelled.Also, since Lamar is the Director of PreCrime, he could have made sure Anderton still had security clearance, since he was framing John and might have deduced that Anderton would try to break in to get at the precogs.<br/><br/>There is, however, an inescapable continuity error near the end of the film when Lara uses John's eye to access the prison system where John is being sequestered. It is true that John was under arrest, making it unnecessary to remove his clearance. The authorities would be aware that his real eyes were never recovered after having them switched out, however, and it's extremely unlikely that they wouldn't remove the clearancea precaution, especially given the increased scrutiny the department was under after the incidents in the film.The precogs see Leo's murder because John had decided (as he states later to Agatha after seeing the picture of his son on Crow's bed) years earlier he was going to murder the man who took his son from him if he ever found him. But this does not explain how the Precogs could already see the murder, if it was this premonition itself that caused John to look for Crow and kill him; in short, the murder seems to be caused by its own prediction (a self-fulfilling prophecy paradox often seen in many time-travel movies).<br/><br/>There are ways out of this paradox. Let us assume there was also another reason or clue that would have ended in the murder. Lamar Burgess may have initially set out a trail for John, an important piece of evidence, that would have led to John finding Crow over the course of a few days or so. This would cause a premonition that John would see of him killing Crow, but because this murder would occur on another day, it would differ from the premonition seen in the movie in certain details; the time of day could be different, the man on the billboard seen outside the window wouldn't be there, etc. It is actually this premonition that would provide John with early clues of the place and circumstances of the murder. This, in turn, would cause him to find and kill Crow much sooner than he would normally have done without seeing a premonition. So what happens is that John's 'spontaneous' future is replaced with an alternate future that we see in the movie; and, to make it more complicated: it is finally a premonition of this alternate future that John sees in the movie.
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