Minority Report (2002)


In 2054, pre-crime cop John Anderton – a policeman who uses psychics to predict when people will commit murder – is himself implicated in a crime he’s investigating…

Seen before? Yes.

Best performance: Tom Cruise plays an honourable, upstanding man who fights for what he believes in but isn’t afraid to bend the rules and who has an inner darkness due to a tragedy in his past. There *might* be cliché at work here. Colin Farrell is very irritating, but at least for once he’s meant to be.

Best scene/moment/sequence: The plot lurches into a higher, more interesting gear when Anderton realises he’s seeing a future projection of himself committing a murder.

Review: Spielberg’s second sci-fi in a row. But whereas AI was beautifully clear, clean and precise, this is all washed-out photography, dirty handheld camerawork and harsh lighting. The presentation of a convincing futuristic world is probably the movie’s most successful aspect. Part dystopian, part neo-noir, with flashes of Blade Runner, Clockwork Orange and Total Recall, it feels palpable and interesting. However, I find the film’s plotting – a lead character with a dead son, an avuncular mentor who turns out to be evil, a kooky character who turns up halfway through and fills in the backstory – a bit mechanical. It also runs out of steam after Anderton catches up with his vision. The final section is very dreary. There’s a theory that the film’s ending is actually all in Anderton’s imagination: I’m not convinced by that. But it is fun clocking just how many references there are in the dialogue to eyes, seeing, watching, eyeballs, blindness…

Seven interactive Gap adverts out of 10.


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