“Don’t trust the police; trust Scientology.” – Tom Cruise, probably.
Set in a future where technology reigns supreme and decides just about each and every person’s decisions, the police force known as “the Pre-Crime Division” arrest people before they can commit murders based on the psychic intuition of three Precognatives. Or, for short, “Pre-cogs”. And lead cop, John Anderton (Tom Cruise), has been working alongside them for quite some time, wherein they trust them, he trusts them, and everything goes as smoothly as possible; murders are stopped, people are put in jail, lives are saved, and everybody goes home a lot happier! However, when looking through the pre-cogs’ memory-bases, Anderton sees a murder committed by none other than himself. Though Anderton doesn’t believe that he’d ever kill someone, no matter for what reason, it’s company policy to take any person in for questioning, no matter who the person is, or what the stipulations may be. But Anderton feels as if he’s being set up, and rather than letting himself get taken in, questioned, and possibly incarcerated for something he hasn’t done yet, let alone, doesn’t think he’ll ever commit, he decides to go on a run from the law. Along the way, he hopes to find out the truth behind the murder and whether or not he’s being set-up to begin with, but a personal disaster from his personal life comes back to bite him and it may not only cost him his innocence, but possibly his life.
There’s always two Steven Spielberg’s working in this world that, on occasion, seem to battle against one another. There’s the serious, dramatic director who makes emotional, sometimes stories that breathe-off huge levels of importance and show that there’s a true artist within the work (see Saving Private Ryan and/or Schindler’s List). Then, on the other hand, there’s the fun, free-wheeling dude who appreciates his blockbusters and succumbs more to the mainstream, without really caring who is happy with that decision, or who isn’t (see Jurassic Park and/or Indiana Jones and the Kingdom of the Crystal Skull). And while I’m not saying that it’s a bad thing that he plays both hands, it also calls into question just how hit-or-miss he can be; while the blockbusters he creates can be exciting and better than most others out there, they also sometimes make it seem like he’s sleeping on those fine talents of his we so rarely see put on full-display.
And then, there’s Minority Report, which seems more like a psychological battle inside of Spielberg’s head, rather than an actual, great movie.
If there’s credit that has to be given to Spielberg, it’s in the way that he allows for this dark, brooding future shine through in some neat, fancy ways. Because this is a Philip K. Dick adaptation, obviously there’s going to be a whole bunch of social-commentary about the government, the way in which they spy, as well as technology, and how it controls our each and every lives. But Spielberg doesn’t seem all that incredibly interested with focusing on that, and instead, seems incredibly taken away with all the sorts of strange, but original pieces of technology he can give us.
For a few examples, there’s weird-looking, electronic spiders that crawl around and search for people; there’s the high-velocity mag-lev cars, that are actually a lot easier to jump out of, despite the speed they appear to be going in; there’s the eye-scanners stationed nearly everywhere that not only keep track of where each and every person is at, but bother you with advertisements; and, as small as it may be, there’s cereal-boxes with electronic-screens that move and make noises. It’s such a small, little detail, but it’s the one that keeps on giving and assures me that Spielberg was just amped-up to make this movie, as some may be to watch it. That’s the Spielberg we all know, love, and wish we saw a whole lot more of.
And that’s the same kind of Spielberg we get for the longest time in Minority Report.
Considering that half of this movie is literally just Tom Cruise running away from the police in a futuristic-world, it makes sense that the movie moves at a quick-as-nails pace and continue to do until there’s time needed for smaller, more character-based moments. And this part of Minority Report is enjoyable; everything moves in such a swift pace that even though there a few plot-holes to be found (like, how does someone get back into their job’s headquarters, when they’re literally on-the-run from those said people in the headquarters?), it’s easy to forget about and forgive them because everything’s so energetic as is. It’s almost like Spielberg cared so much about the look of the movie, that he didn’t get too bogged-down in certain plot-details; as long as everything’s moving nicely, all is well.
For awhile, too, everything is well. Until it isn’t.
The next-half of Minority Report is where it seems like Spielberg starts to fall back into his own trends of diving too hard into all of the family drama, twists and turns that don’t make much sense, and a sugar-coated, happy-ending that seem to come out of nowhere. And the reason why most of this stuff seems to come out of nowhere, is because a good majority of the movie is as bleak and as scary as you’d expect a Philip K. Dick adaptation to be – which isn’t something we expect from Spielberg himself. That’s what makes it all the more disappointing to see the final-act of the movie, not just grind to a screeching halt, but also seem to forget about what makes this world so damn interesting to begin with: It’s sadness and just how far Spielberg is willing and/or able to go through with developing that more and more.
Because through the likes of Tom Cruise, Max von Sydow, Colin Farrell, Samantha Morton, Neal McDonough, Peter Stormare, and, well, many more, we’re able to see how such human beings get by in a world that’s so upsetting and miserable, and still be somewhat happy. Once all of that begins to wear thin, it becomes clear that we’re out of a Philip K. Dick story, and more of in one that’s Spielberg’s own creation; where everybody hugs, cries, goes on about their daddy-issues, and all sorts of other sappiness ensues. Sometimes this is fine, but it feels misplaced here.
If only this had been directed by Ridley Scott, straight after he finished up with Blade Runner.
Consensus: For a good portion, Minority Report is as fun, ambitious, exciting, and artistically-driven as Spielberg can get, but later on, it goes back to his ham-handed old ways and feels like a bit of a retreat.
7.5 / 10
Photos Courtesy of: Movpins