Exciting and enjoyable Spielberg thriller

Rating: Null/10 (21 August 2002)

"Minority Report" is acclaimed director Steven Spielberg's first foray into the thriller genre, although he has tackled many of the themes and characters of "Minority Report" in other films. "Minority Report", largely due to its nihilistically futuristic setting, does not feel like a Spielberg movie and it seems to have the influence of other distinguished film-makers, as diverse as Ridley Scott and Alfred Hitchcock.
The premise alone is enough to sell the movie: What if crime could be predicted and stopped before it happened?
The plot, set around 50 years into the future, focusses on Pre-Crime detective John Anderton, a hard-working policeman whose job it is to stop criminals, specifically murderers, before they commit crime. He does this through the aid of the Pre-Cogs, zombie-like prophets whose only function lies in the detecting and predicting of crime.
But Anderton is thrown into a perilous situation when the Pre-Cogs reveal HE will commit a murder in the near future, prompting him to go the run from the corrupt establishment he serves.
The plot serves up more than its fair share of surprises (characters whom the audience believe to be villains turn not to be so bad after all, and vice versa), also allowing for some background depth and development to its characters. The finale is perfect, yet totally unexpected.
Cruise handles the chief role with grace and style, carefully etching his characters frequently frantic emotional states. So often dismissed by some as a Hollywood pretty boy, under Spielberg's direction he gives one of the best performances of his career.
He is given excellent support by Max Von Sydow as his untrustworthy boss, British actress Samantha Morton shines as liberated Pre-Cog Agatha and character actor Peter Stormare is on good form as a dangerous, creepy eye-surgeon.
Action has always been Spielberg speciality and here he forgoes the disturbing realism of "Saving Private Ryan" in favour of some exciting, funny and brilliantly preposterous fantasy action scenes. He is given some good support in this with some fine camerawork and special effects. These are put to their most effective use when they show how advertising has become more intrusive as adverts frequently recognise and address people by name, with some interesting consequences.
Spielberg keeps the tension cranked up admirably, but also allows for some softer moments, such as when Agatha explains to John and his wife what their late son's life would have been like had he lived and the quiet, sentimental ending, the only reminder that the film is a Spielberg movie.
Another splendid masterpiece from a master film-maker, who has again come up with another great story that demonstrates both the humanity and horror in the human spirit.