I went to see it because of Philip K Dick.

Rating: Null/10 (27 July 2002)

I've read several PKD novels, and let me tell you, they are an excellent challenge. Insightful, dark, ambiguous (amTRIguous?)and ultimately humane. Sometimes his work seems deliberately unclear, but it is never short of compelling.
With Minority Report, Mount Spielberg has created a film of consummate craftsmanship. Noir bathed in light and white all over. Wow! Sort of the negative print of Blade Runner. Nothing escaped Spielberg's attention, not the minutest detail, nor texture nor athmospheric. A very convincing representation of the Police State that the United States could become (remember how everybody got face-scanned at the last Super Bowl?). The choreography and pacing of action sequences are, yet again, masterful and fresh; credit must be given to Spielberg for consistently pulling this off, year in and year out.
Which reminds me: What a travesty it was to integrate the Schwarzenegger Element to another PKD project: Total Recall. The plot reflects PKD's forte: the permutation of ideas both visionary and unexpected. However, the wishy-washy ending torpedoes everything that the rest of the film stands for. What could have been a great film becomes merely a good one, because of the saccharine aftertaste.
The factor that makes Blade Runner great is its conviction to bring forth the true spirit of PKD to the very end, to its logical lack of conclusion. Many people remember that Blade Runner hit the screen in 1982 with an infamous watered-down ending, patched in at the prompting of studio executives, a sort of commercial bowdlerization, and a woeful mistake long since corrected.
Now, Mount Spielberg has here shown yet again that he cannot help but to bowdlerize himself. Could somebody please tell this man to stop pushing the same blatant sentimentality buttons that served him (and us) well once upon a time, once or twice? And that goes double for Mr. Cruise.
"It's too bad she won't live, but then again who does?"