An addition to the compendium of Spielberg might-have-beens - SPOILERS

Rating: 6/10 (20 December 2004)

This film is worth watching for lots of reasons. The best is Philip K. Dick's dystopian vision. And the acting is good too: Cruise as the high priest of pre-crime, catching murderers before they commit their offences using the mysterious power of the "pre-cognitives"; Max Von Sydow adding his usual air of gravitas (how can Hollywood justify treating him so badly?) The look of the film is somewhere between Total Recall and the leeched colours and retro chic of Gatacca.
Others have commented on the plot, so I'm not going to; it's good enough. Would have been better without the last 10 minutes, but Blade Runner suffered the same affliction. Suffice to say - for those who prefer to switch off Blade Runner after Gaff turns to say, It's too bad she won't live, but then again, who does?  the ending for MR will probably set your teeth grinding too. But this is just one problem.
Firstly, the film is a real cut and paste job. It looks like Gatacca, has the plot twists of Total Recall, has that media-savvy thing from Robocop. All good stuff, all been done. OK, so this is a better film than his mate George Lucas would have made, but this just goes to prove that Spielberg is still more of an engineer than an artist.
And if it is meant to be SF film noir, it's a very white shade of black. Spielberg seems to shy away from anything the least edgy (note the keystone cops chase with the jetpack - "but, yee, we can't have our hero hurt any good guys" and the comedy fight between Anderton and Witwer). Even Peter Stormare is less Hannibal Lecter and more the comedy-Russian he played on Armageddon.
Then there is the riding off into the sunset ending. Can someone please explain to me what would have been wrong with Cruise ending up in the vault and Max Von Sydow, turning his collar up against the rain, walking out of a bustling pre-crime department to the sound of Schubert's 8th Symphony? Von Sydow's should be the most interesting character in the film  and the man worked with Bergman for goodness sake  why not use him.
SF films have a reputation for being more "deep" than they really are. A few manage to be thought-provoking though (2001, Bladerunner, Gatacca). One of the key things that sets them apart seems to be a willingness to leave the audience thinking about what the film is trying to say. All the audience is of MR is left with is the feeling that "well, that's alright then."
Enjoyable. 6/10just.