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At a time when movies think they have to choose between action and ideas, Steven Spielberg's "Minority Report" is a triumph--a film that works on our minds and our emotions. It is a thriller and a human story, a movie of ideas that's also a whodunit. Here is a master filmmaker at the top of his form, working with a star, Tom Cruise , who generates complex human feelings even while playing an action hero.
I complained earlier this summer of awkward joins between live action and CGI; I felt the action sequences in " Spider-Man " looked too cartoonish, and that "Star Wars Episode II," by using computer effects to separate the human actors from the sets and CGI characters, felt disconnected and sterile. Now here is Spielberg using every trick in the book and matching them without seams, so that no matter how he's achieving his effects, the focus is always on the story and the characters.
The movie turns out to be eerily prescient, using the term "pre-crime" to describe stopping crimes before they happen; how could Spielberg have known the government would be using the same term this summer? In his film, inspired by but much expanded from a short story by Philip K. Dick , Tom Cruise is John Anderton, chief of the Department of Pre-Crime in the District of Columbia, where there has not been a murder in six years. Soon, it appears, there will be a murder--committed by Anderton himself.
The year is 2054. Futuristic skyscrapers coexist with the famous Washington monuments and houses from the 19th century. Anderton presides over an operation controlling three "Pre-Cogs," precognitive humans who drift in a flotation tank, their brain waves tapped by computers. They're able to pick up thoughts of premeditated murders and warn the cops, who swoop down and arrest the would-be perpetrators before the killings can take place.
Because this is Washington, any government operation that is high-profile and successful inspires jealousy. Anderton's superior, bureau director Burgess (Max von Sydow) takes pride in him, and shields him from bureaucrats like Danny Witwer ( Colin Farrell ), from the Justice Department. As the pre-crime strategy prepares to go national, Witwer seems to have doubts about its wisdom--or he is only jealous of its success? Spielberg establishes these characters in a dazzling future world, created by art director Alex McDowell, that is so filled with details large and small that we stop trying to figure out everything and surrender with a sigh. Some of the details: a computer interface that floats in mid-air, manipulated by Cruise with the gestures of a symphony conductor; advertisements that crawl up the sides of walls and address you personally; cars that whisk around town on magnetic cushions; robotic "spiders" that can search a building in minutes by performing a retinal scan on everyone in it. " Blade Runner ," also inspired by a Dick story, shows a future world in decay; "Minority Report" offers a more optimistic preview.
The plot centers on a rare glitch in the visions of the Pre-Cogs. Although "the Pre-Cogs are never wrong," we're told, "sometimes ... they disagree." The dissenting Pre-Cog is said to have filed a minority report, and in the case of Anderton the report is crucial, because otherwise he seems a certain candidate for arrest as a pre-criminal. Of course, if you could outsmart the Pre-Cog system, you would have committed the perfect crime...
Finding himself the hunted instead of the hunter, Anderton teams up with Agatha ( Samantha Morton ), one of the Pre-Cogs, who seemed to be trying to warn him of his danger. Because she floats in a fluid tank, Agatha's muscles are weakened (have Pre-Cogs any rights of their own?) and Anderton has to half-drag her as they flee from the pre-crime police. One virtuoso sequence shows her foreseeing the immediate future and advising Anderton about what to do to elude what the cops are going to do next. The choreography, timing and wit of this sequence make it, all by itself, worth the price of admission.
But there are other stunning sequences. Consider a scene where the "spiders" search a rooming house, and Anderton tries to elude capture by immersing himself in a tub of ice water. This sequence begins with an overhead cross-section of the apartment building and several of its inhabitants, and you would swear it has to be done with a computer, but no: This is an actual physical set, and the elegant camera moves were elaborately choreographed. It's typical of Spielberg that, having devised this astonishing sequence, he propels it for dramatic purposes and doesn't simply exploit it to show off his cleverness. And watch the exquisite timing as one of the spiders, on its way out, senses something and pauses in mid-step.
Tom Cruise's Anderton is an example of how a star's power can be used to add more dimension to a character than the screenplay might supply. He compels us to worry about him, and even in implausible action sequences (like falls from dizzying heights) he distracts us by making us care about the logic of the chase, not the possibility of the stunt.
Samantha Morton's character (is 'Agatha' a nod to Miss Christie?) has few words and seems exhausted and frightened most of the time, providing an eerie counterpoint for Anderton's man of action. There is poignancy in her helplessness, and Spielberg shows it in a virtuoso two-shot, as she hangs over Anderton's shoulder while their eyes search desperately in opposite directions. This shot has genuine mystery. It has to do with the composition and lighting and timing and breathing, and like the entire movie it furthers the cold, frightening hostility of the world Anderton finds himself in. The cinematographer, Janusz Kaminski , who has worked with Spielberg before (not least on " Schindler's List "), is able to get an effect that's powerful and yet bafflingly simple.
The plot I will avoid discussing in detail. It is as ingenious as any film noir screenplay, and plays fair better than some. It's told with such clarity that we're always sure what Spielberg wants us to think, suspect and know. And although there is a surprise at the end, there is no cheating: The crime story holds water.
American movies are in the midst of a transition period. Some directors place their trust in technology. Spielberg, who is a master of technology, trusts only story and character, and then uses everything else as a workman uses his tools. He makes "Minority Report" with the new technology; other directors seem to be trying to make their movies from it. This film is such a virtuoso high-wire act, daring so much, achieving it with such grace and skill. "Minority Report" reminds us why we go to the movies in the first place.
Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.
And the King Said, What a Fantastic Machine
Minority Report (2002)
Rated PG-13 For Violence, Brief Language, Some Sexuality and Drug Content
Tom Cruise as John Anderton
Samantha Morton as Agatha
Max von Sydow as Director Burgess
Colin Farrell as Danny Witwer
Tim Blake Nelson as Gideon
- Steven Spielberg
- Scott Frank
Based on the story by
- Philip K. Dick
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Cast & crew, steven spielberg, colin farrell, max von sydow, jessica capshaw, victoria kelleher, photos & videos, technical specs.
In Washington, D.C., in the year 2054, murder has been eliminated. The future is seen and the guilty punished before the crime has ever been committed. From a nexus deep within the Justice Department's elite Pre-Crime unit, all the evidence to convict--from imagery alluding to the time, place and other details--is seen by "Pre-Cogs," three psychic beings whose visions of murders have never been wrong. It is the nation's most advanced crime force, a perfect system. And no one works harder for Pre-Crime than its top man, Chief John Anderton. Destroyed by a tragic loss, Anderton has thrown all of his passion into a system that could potentially spare thousands of people from the tragedy he lived through. Six years later, the coming vote to take it national has only fueled his conviction that Pre-Crime works. Anderton has no reason to doubt it... until he becomes its #1 suspect. As the head of the unit, Anderton is the first to see the images as they flow from the liquid suspension chamber where the Pre-Cogs dream of murder. The scene is unfamiliar, the faces unknown to him, but this time, the killer's identity is clear--John Anderton will murder a total stranger in less than 36 hours. Now with his own unit tracking his every move, led by his rival Danny Witwer, Anderton must go below the radar of the state-of-the-art automated city, where every step you take is monitored. Because you can't hide, everybody runs. With no way to defend himself against the charge of Pre-Crime, John must trace the roots of what brought him here, and uncover the truth behind the questions he has spent the past six years working to eliminate: Is it possible for the Pre-Cogs to be wrong?
Vene arcoraci, kirk b. r. woller, kathryn morris, scott frank, adrianna kamosa, peter stormare, nicholas e barb, george wallace, kari gordon, pamela roberts, gene wheeler, samantha morton, anna maria horsford, andrew sandler, elizabeth kamosa, jason antoon, tyler patrick jones, daniel london, catfish bates, ethan sherman, bonnie morgan, kathi copeland, jorge-luis pallo, joel gretsch, william mesnik, vanessa cedotal, tom whitenight.
Kimiko gelman, payman kayvanfar, tim blake nelson, matthew dickman, meredith monroe, david stifel, james d henderson, steve harris, john bennett, shannon o'hurley, brennen means.
Sarah simmons, david hornsby, clement e blake, nancy linehan charles, radmar agana jao, patrick kilpatrick, caitlin mao, benita krista nall, eugene osment, gina gallego, jerry perchesky, victor raider-wexler, kurt sinclair, bertell lawrence, maureen dunn, nathan taylor, ana maria quintana, morgan hasson, ann ryerson, william mapother, ashley crow, lucille m oliver, paul wesley, anne judson yager, nadia axakowsky, karina logue, dude walker, rocael rueda jr., drakeel burns, mike binder, beverly morgan, laurel kamosa, stephen ramsey, elizabeth anne smith, danny lopez, caroline lagerfelt, neal mcdonough, miles dinsmoor, frank grillo, keith campbell, dominic scott kay, keith flippen, severin wunderman, spencer treat clark, blake bashoff, michael dickman, elizabeth penn payne, richard coca, william morts, kevin abercrombie, joshua hunter adams, blondel aidoo, sande alessi, jon alexander, robert alidon, david allen, richard w allen, jorge almeida, gregory alpert, matthew altman, anthony alvarez, deborah ambrosino, robert amerian, greg anderson, danny andres, chris antonucci, ethan applen, fred arbegast, barry armour, charlie armstrong, lori arnold, michael s arvanitis, karen asano-myers, john ashker, fahima atrouni, john yehia atrouni, john august, ramsey avery, douglas axtell, lance baetkey, jeanie baker, kirk balden, terry baliel, mark ballentine, ron baratie, parker barlett, christopher barron, james m barron, robert bastens, travis baumann, jamie baxter, randall k bean, david beasley, cheryl beasley-blackwell, bruce bebee jr., betty beebe, ramiro belgardt, harald belker, elissa bello, lydia benain, tina bennett, todd bennett, dena berdge, eric berger, dena berman, jerry bertolami, brooke biagi, judith h bickerton, andrea biklian, richard l blackwell, larry blanford, patricia blau, nancy blewer, david blizard, bobbie blyle, kathleen bobak, stella bogh, marek bojsza, cosmas paul bolger jr., jeff boortz, chris bothwell, ronald bouma, lorraine boushell, christopher bowling, peter bowmar, christopher boyes, max bozeman, lance brackett, jim bradfield, steve braggs, sherri bramlett, john branagan, barbara brennan, phil brennan, marc brickman, monica brinn, clare britell, nancy broadfoot, bela brojek, kayce brown, linda kay brown, mark w brown, thomas h. brown, eric bruneau, michael brunsfeld, greg bryant, christopher s bryson, richard bucher, michele burke, bobby burns, gary burritt, nelson bush, michael buster, cory butler, richard byard, douglas byers, denny caira, marc caldera, ed calderon, camille calvet, carol campbell, roy cancino, brian cantwell, elaine cantwell, antoinette carr, david carriker, lori casler, mike cassidy, tony cecere, lanny cermak, dianne chadwick, j. andré chaintreuil, denise chamian, lawrence chandler, michael chang, joshua chapel, martin charles, matt checkowski, simon cheung, david y chow, henry christian, richard chuang, kaiser clark, kelly clear, karen b clem, robert clot, thomas cloutier, james clyne, ardis cohen, webster colcord, zachary cole, steve c collins, begona colomar, kyrsten mate comoglio, mark comperry, joseph conenna, robert consing, denis cordova, damian costa, john countryman, patrick crane, travis crenshaw, shannon crimmins, brandon criswell, eric vincent cruse, mike cuevas, chris culliton, john cummins, bonnie curtis, brian cuscino, michele cusick, johanna d'amato, patti dalzell, marsha daniels, charles darby, melissa darby, cass darmody, lorelei david, george davis, glenn r davis, michael day, jan de bont, sandy de crescent, lindy de quattro, lee anne de vette, stefan dechant.
Best sound editing.
Winner of the 2002 award for Best Supporting Actress (Samatha Morton) by the Online Film Critics Society.
Released in United States Summer June 21, 2002
Released in United States on Video December 17, 2002
Kodak Film Stock
Nominated for the 2002 award for Best Director by the Broadcast Film Critics Association.
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2002 Directed by Steven Spielberg
The system is perfect until it comes after you.
John Anderton is a top 'Precrime' cop in the late-21st century, when technology can predict crimes before they're committed. But Anderton becomes the quarry when another investigator targets him for a murder charge.
Tom Cruise Samantha Morton Max von Sydow Colin Farrell Kathryn Morris Steve Harris Neal McDonough Patrick Kilpatrick Jessica Capshaw Daniel London Lois Smith Tim Blake Nelson Peter Stormare Caroline Lagerfelt Jason Antoon Mike Binder Arye Gross Ashley Crow Joel Gretsch Anna Maria Horsford Sarah Simmons George D. Wallace Ann Ryerson Tyler Patrick Jones Dominic Scott Kay Jessica Harper Bertell Lawrence Richard Coca Keith Campbell Show All… Kirk B.R. Woller Frank Grillo Klea Scott Eugene Osment James Henderson Vené L. Arcoraci Erica Ford Keith Flippen Nathan Taylor Radmar Agana Jao Karina Logue Elizabeth Anne Smith Victoria Garcia-Kelleher Jim Rash Stephen Ramsey Tom Choi Tom Whitenight William Morts Michael Dickman Matthew Dickman William Mesnik Franklin Scott Severin Wunderman Max Trumpower Allie Raye Rocael Leiva Nicholas Edwin Barb Catfish Bates Danny Parker-Lopes Vanessa Cedotal Katy Boyer Adrianna Kamosa Kari Gordon Elizabeth Kamosa Raquel Gordon Laurel Kamosa Fiona Hale Pamela Roberts Clement Blake Jerry Perchesky Victor Raider-Wexler Nancy Linehan Charles Nadia Axakowsky Dude Walker Tony Hill Drakeel Burns William Mapother Morgan Hasson Andrew Sandler Bonnie Morgan Kathi Copeland Ana Maria Quintana Lucille M. Oliver Gene Wheeler Tonya Ivey David Stifel Kurt Sinclair Rebecca Ritz Beverly Morgan John Bennett Maureen Dunn Ron Ulstad Blake Bashoff David Doty Gina Gallego David Hornsby Anne Judson-Yager Meredith Monroe Benita Krista Nall Shannon O'Hurley Jorge-Luis Pallo Elizabeth Payne Ethan Sherman Jarah Mariano Miles Dinsmoor Vanessa Asbert Paul Thomas Anderson Cameron Crowe Cameron Diaz
Additional Directing Add. Directing
Scott Frank Sergio Mimica-Gezzan Brian Smrz David H. Venghaus Jr. Kurt Uebersax
Jan de Bont Bonnie Curtis Gerald R. Molen Walter F. Parkes
Executive Producers Exec. Producers
Ronald Shusett Gary Goldman
Scott Frank Jon Cohen
Original Writer Original Writer
Philip K. Dick
Denise Chamian Michael Hothorn
Additional Photography Add. Photography
Rick Lamb Eric Vincent Cruse David Devlin Mitch Dubin Gregory Lundsgaard Carlos DePalma Bill Essling Kelly Clear Walter 'Bud' Scott Jamie Franta Danny Andres John Gilmour Katarina Bueno John Mang T.J. Tollefson James A. Earley Clayton Fowler Bill Gilleran Mathew Marden Damian Costa Jim Sanfilippo
Production Design Production Design
Art Direction Art Direction
Chris Gorak Leslie McDonald Jeff Mossa Seth Reed Jason Weil Gerald Sullivan Ramsey Avery Trae King Harry E. Otto Alexander Laurant
Set Decoration Set Decoration
Anne Kuljian Hugo Santiago Maya Shimoguchi Chris Kennedy Easton Michael Smith Neil O'Sullivan A. Todd Holland Chris Patterson Matthew R. Altman Max Bozeman Aric Lasher Patrick T. Eagan Chris Pascuzzo Nelson Bush Fred Herzberger Michael Koellner Art Vasenius Michelle L. Wolcott Michael Vojvoda Robert Lee Robinson Clark Hospelhorn Margaret Hungerford Wayne L. Miller Jr. Norm Thurston Jr.
Special Effects Special Effects
Ian O'Connor James Bomalick
Visual Effects Visual Effects
Alexander Dervin Scott Farrar Les Hunter Henry LaBounta Marc Varisco Kim Lavery Mark Russell Ryan Roberts Janice Lew Dana Friedman Darcie Tang Miles Dinsmoor Toby Keil
Philip Tan Larry M. Shorts Jeff Habberstad Erik Stabenau Keith Campbell Brian Smrz Eddie J. Fernandez Jake Teague Rosine 'Ace' Hatem Fred Waugh Jayson Dumenigo Jeannie Epper Randy Hall Steve Kelso Christopher 'Critter' Antonucci Merritt Yohnka Carl Paoli Toby Holguin Brian Simpson Anthony Alvarez Mark Stefanich Andy Gill John Hateley John Ashker Eddie Perez Richard Bucher Dennis Keiffer Danny Lopez Wayne A. King William Washington Keii Johnston David Wald Jake Brake Frank Torres Scott Sproule John Branagan Gregg Smrz Pat Romano Lisa Dempsey Billy Kelly Michael Trisler David Rowden Al Goto Anthony Cecere Justin Sundquist Kevin Abercrombie Richard L. Blackwell Dana Dru Evenson Doug O'Dell II Mark Aaron Wagner Paul M. Lane Troy Gilbert Dane Farwell Greg Anderson Paul Eliopoulos Richard Epper Cinda-Lin James Carol Neilson J.P. Romano Richie Gaona Charles Grisham Shirley Smrz Robert Bastens Marc Caldera Ransom Gates Nicole Kreuzer Daniel T. O'Brien Chad Parker Keith Shindoll Brett Smrz Kelly Smrz Petra Sprecher Jim Stephan Naki Wilson April Weeden Christie Hayes Rick Miller
John Williams Paul Haslinger
Gary Rydstrom Kyrsten Mate Richard Hymns Dennie Thorpe Jana Vance Douglas Axtell Walter Werzowa Jonathan Null Ron Judkins Andy Nelson Robert Renga David C. Hughes Craig Heath J.R. Grubbs Lindakay Brown Travis Crenshaw Frank 'Pepe' Merel
Costume Design Costume Design
Deborah Lynn Scott Alexandria Forster Dana Wright
Michèle Burke Sandra Linn Koepper Terri Trupp Jennifer Mann Debi Young Joseph P. Hurt Diane Hammond Cheryl 'Pickles' Kinion Barbara Lacy Betty Beebe Carol S. Federman Mary Kay Morse Tina Hoffman Nancy Broadfoot Kimberly Foley Kathy Greene Mitchell Kennedy Leslie Storms Barbara York Lorraine DeArmott-Boushell
Terry Baliel Candace Neal Patricia Miller Mark Anthony Taurance F. Williams Sherri Bramlett Lydia Bensimmon Ardis Cohen Karen Asano-Myers Carol 'Ci Ci' Campbell Judith H. Bickerton Antoinette Carr Barbara Haggerty Andrea Rowe-Dicke
Digital Image Associates Cruise/Wagner Productions Blue Tulip Productions Ronald Shusett/Gary Goldman Amblin Entertainment 20th Century Fox DreamWorks Pictures
Releases by Date
17 jun 2002, 26 oct 2002, 30 nov 2002, 20 jun 2002, 21 jun 2002, 26 jun 2002, 27 jun 2002, 29 jun 2002, 03 jul 2002, 04 jul 2002, 05 jul 2002, 25 jul 2002, 26 jul 2002, 31 jul 2002, 01 aug 2002, 02 aug 2002, 08 aug 2002, 09 aug 2002, 15 aug 2002, 30 aug 2002, 31 aug 2002, 05 sep 2002, 06 sep 2002, 12 sep 2002, 18 sep 2002, 20 sep 2002, 25 sep 2002, 26 sep 2002, 27 sep 2002, 02 oct 2002, 03 oct 2002, 04 oct 2002, 11 oct 2002, 07 dec 2002, 20 dec 2002, 01 feb 2016, 16 sep 2020, 01 oct 2022, 27 nov 2002, 02 apr 2003, 28 apr 2010, 05 may 2010, 21 may 2010, 02 may 2012, 12 sep 2005, releases by country.
- Theatrical 13
- Theatrical M
- Theatrical 14
Bolivarian Republic of Venezuela
- Theatrical C
- Theatrical 14A
- Theatrical 12
- Theatrical 15
- Theatrical K-16
- Theatrical TP
- Physical DVD
- Physical Blu-Ray
- Digital VOD
- Digital Prime Video
- Digital Netflix
- Theatrical K-12
- Theatrical 16
- Theatrical A
- Theatrical PG
- Theatrical T
- Premiere Tokyo International Film Festival
- Theatrical G
- Theatrical B15
- TV 12 SBS 6
- Physical 12 Blu ray
- Physical 12 DVD
- Theatrical R-13
- Theatrical M/12
- Theatrical 16+
- Physical 15 DVD
- Physical 15 Blu-ray
- Theatrical 12 German speaking region
- Premiere PG-13 New York City, New York
- Theatrical PG-13
145 mins More at IMDb TMDb Report this page
Review by brat pacino ★★★★ 7
colin farrell's character introduces himself to tom cruise as "the twink from the Fed" #gayrights
Review by Bryan Espitia 🍂 ★★★★½ 8
I like that there's a whole little side plot about how good Tom Cruise can run and how his son wants to learn to run like him.
Review by James (Schaffrillas) ★★★★½
Heavy Rain if it was good
Review by Erik 🎼 ★★★★★ 3
pre-crime arresting me for pre-shoplifting at GAP: how’d those assorted tank tops work out?
me: *spits out blood* fuck you
Review by demi adejuyigbe ★★★★½ 9
watched half of it again cause gabe had to finish it and am logging it again because there’s no rules on this site. send the future cops my way, i don’t give a fuck!!!
wish i’d seen this in theaters because the moment of agatha screaming RUUUUUUN would’ve rocked my world as a 10 year old. “max von sydow” is the coolest name of any famous actor- unless you count uhhh Joe freaking Biden!!! aaaand post
Review by Matt Singer ★★★★½ 9
Steven Spielberg's been so good for so long we take him for granted. This one more than holds up as one of his very best -- and one of Cruise's best as well. I think it might be his best performance.
I do not care for Spielberg's 2000s visual obsession with bloom and I wish this movie was more colorful to match the genuinely goofy/slapstick sensibility it has at times (the jetpack fight, the mr. magoo-ass blind sequence in the apartment, the eyeball stuff, etc) but this movie kicks ass. A sci-fi ACAB conspiracy thriller about free will and government surveillance? C'mon. Big dunk. Even in the future, cops are just horrid and fucking terrible at their jobs. Shocked it was produced just before 9/11 because it's so eerily prescient of the things we'd all lose to 9/11 that you'd think it was part of his later trilogy of 9/11 films. Totally forgot Tim Blake Nelson was in this, what a…
Review by matt lynch ★★★★ 1
Loaded with Hitchcock references but especially to FOREIGN CORRESPONDENT, and with more than just the umbrella gag. The chases have the same goofy relish, too (the jetpack hamburger gag here might as well be the old guy trying to cross the street during the car chase in CORRESPONDENT). Hitchcock's film urged the U.S. to enter the war a year before Pearl Harbor, Spielberg's warned of a society willing to give up a few civil rights for possibly illusory safety not even a year after 9/11.
Review by SilentDawn ★★★★½ 7
A dystopic gumshoe thriller. Its vision of the future includes animated cereal boxes, customized advertisements, and a populace always aware of their own actions. Maybe the mystery is lacking in inventiveness, but Spielberg is at the height of trying everything and anything, and pulling it off with aplomb. Hitchcock is a key influence, of course, but Spielberg's peers of De Palma and Lucas have never felt so close in competition. As an aesthetic exercise, this is just an absurd flex.
Review by amaya ★★★ 8
1. tom cuise calling colin farrell a twink 2. tom cruise running after his own eyeballs 3. tom cruise 4. colin farrell's hands 5. paul thomas anderson's 1 second cameo
Review by ellie ✨ ★★★
tom cruise: you're a twink colin farrell, chewing gum and drinking coffee simultaneously: and what about it?
Review by Brianna 1
nobody prepared me for how goofy this is
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2002, Sci-fi/Mystery & thriller, 2h 24m
What to know
Thought-provoking and visceral, Steven Spielberg successfully combines high concept ideas and high octane action in this fast and febrile sci-fi thriller. Read critic reviews
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Minority report photos.
Based on a story by famed science fiction writer Philip K. Dick, "Minority Report" is an action-detective thriller set in Washington D.C. in 2054, where police utilize a psychic technology to arrest and convict murderers before they commit their crime. Tom Cruise plays the head of this Precrime unit and is himself accused of the future murder of a man he hasn't even met.
Rating: PG-13 (Drug Content|Brief Language|Some Sexuality|Violence)
Genre: Sci-fi, Mystery & thriller, Action
Original Language: English
Director: Steven Spielberg
Producer: Gerald R. Molen , Bonnie Curtis , Walter F. Parkes , Jan de Bont
Writer: Philip K. Dick , Scott Frank , Jon Cohen
Release Date (Theaters): Jun 21, 2002 wide
Release Date (Streaming): Aug 1, 2013
Box Office (Gross USA): $132.0M
Runtime: 2h 24m
Distributor: 20th Century Fox
Production Co: DreamWorks SKG, Twentieth Century Fox, Cruise-Wagner Productions, Amblin Entertainment, Blue Tulip
Sound Mix: Surround, DTS, Dolby EX
Aspect Ratio: Scope (2.35:1)
Cast & Crew
Chief Paul Anderton
Max von Sydow
Pre-Crime Director Lamar Burgess
Dr. Iris Hineman
Dr. Solomon Eddie
Tim Blake Nelson
Lara Clarke Anderton
Leo F. Crow
Wally the Caretaker
Rufus Riley at Cyber Parlor
Philip K. Dick
Gerald R. Molen
Walter F. Parkes
Jan de Bont
Deborah Lynn Scott
Visual Effects Supervisor
News & Interviews for Minority Report
Rank Tom Cruise’s 10 Best Movies
Why Some Philip K. Dick Adaptations Work (And Others Are Total Disasters)
Critic Reviews for Minority Report
Audience reviews for minority report.
The film did well overall, but it is not as smart and as promising as many have claimed it to be.
Minority Report is a bit too long and can at times seem inconsistent in its pacing. That being said, Tom Cruise delivers as always, and a strong supporting cast help to make this Spielberg Sci-Fi worth taking a look at.
Minority Report is definitely one of Spielberg's best with very thought provoking scenes, thrilling sequences and having sci-fi elements that are ahead of its time.
Minority Report is a very exciting movie filled with amazing action, great visuals, awesome acting from a great cast and an interesting plot line. The only issue I have with this movie is the title. Nevertheless "Minority Report" is a fun action movie and I give it a 8.5/10/
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Minority Report (Film)
By steven spielberg, minority report (film) cast list, tom cruise john anderton.
Tom Cruise's big break came with his role as Maverick in Top Gun. After this catapulted him to national recognition, he became a household name, known for his solid acting abilities and his starring turns in many action films. Throughout his career, he has been nominated for Academy Awards three times (for Magnolia, Jerry Maguire, and Born on the Fourth of July) and won 3 Golden Globes. Notable film credits include Taps, The Outsiders, Risky Business, All the Right Moves, Legend, Top Gun, Rain Man, Born on the Fourth of July, A Few Good Men, Interview with the Vampire, Mission: Impossible, Jerry Maguire, Eyes Wide Shut, Magnolia, Minority Report, Vanilla Sky, Valkyrie, Tropic Thunder, Jack Reacher, and an upcoming sequel, Top Gun: Maverick.
Max von Sydow Director Lamar Burgess
Max von Sydow is a Swedish actor who is perhaps best known for his role as the Knight in Ingmar Bergman's iconic film, The Seventh Seal. Over the course of his career, Sydow appeared in 11 films directed by Bergman. Other films include The Quiller Memorandum, The Apple War, The Exorcist, Flash Gordon, Never Say Never Again, Hannah and Her Sisters, Pelle the Conqueror (for which he was nominated for an Academy Award), Awakenings, Minority Report, Robin Hood, Extremely Loud and Incredibly Close (for which he was nominated for an Academy Award), and Star Wars: The Force Awakens. He currently appears on the television show Game of Thrones.
Colin Farrell Danny Witwer
Colin Farrell is an Irish actor who came to popularity in the late 1990s and early 2000s. His films include The War Zone, Tigerland, Phone Booth, S.W.A.T., Minority Report, Daredevil, Intermission, A Home at the End of the World, Alexander, Miami Vice, In Bruges (for which he was nominated for a Golden Globe), Horrible Bosses, Total Recall, Winter's Tale, and the miniseries True Detective. He received a second Golden Globe nomination for his performance in Yorgos Lanthimos' The Lobster.
Samantha Morton Agatha
Samantha Morton is an English actress who has been nominated twice for Academy Awards, first for her performance in Woody Allen's Sweet and Lowdown, then for In America in 2003. Her other films include Emma, Jane Eyre, Under the Skin, Enduring Love, Longford, Elizabeth: The Golden Age, Synecdoche, New York, The Messenger, Minority Report, Cosmopolis, Miss Julie, Fantastic Beasts and Where to Find Them, and 2017 television series, Harlots.
Steve Harris Jad
Steve Harris is best known for his role on the television series The Practice. Other films include Bringing Down the House, The Mod Squad, Diary of a Mad Black Woman, In Your Eyes, and Chi-Raq.
Neal McDonough Fletcher
Neal McDonough is best known for his roles in the miniseries Band of Brothers, and the television shows Suits, Justifies, Mob City, and Desperate Housewives. Other films include Flags of Our Fathers, The Hitcher, and Paul Blart: Mall Cop 2.
Kathryn Morris Lara Clarke
Kathryn Morris's other films include A.I. Artificial Intelligence, As Good as it Gets, The Contender, Paycheck, and The Perfect Guy. She is perhaps best known for her role on the television series Cold Case.
Lois Smith Iris Hineman
Lois Smith is an American actress known for her theater work and her parts in such films as East of Eden, Five Easy Pieces, Fatal Attraction, and Dead Man Walking. For her stage work, she has received two nominations for Tony Awards, for Grapes of Wrath and Buried Child.
Minority Report (Film) Questions and Answers
The Question and Answer section for Minority Report (Film) is a great resource to ask questions, find answers, and discuss the novel.
Minority Report, Report
The Minority Report attempts to judge what someone will or will not do.
These reports are important for the Precrime unit to predict what will or will not occur.
Reports are destroyed so that they cannot be made public. A publicized mistake would...
Does the system of justice described in The Minority Report truly benefit society
I don't think so because fate and free will become a tangled mess. The premise of PreCrime is that human beings' actions can be predicted, and that there is a certain amount of predetermination that goes into every act. In this schema, free will...
How does Agatha, even while in the water and hooked into the Precrime computers, make a choice?
I don't think Agatha makes a decision. With the other two Precogs, she projects visions of crimes that have yet to happen to the PreCrime Division. Agatha is the most talented of the three Precogs, as Iris Hineman tells John when he visits her...
Study Guide for Minority Report (Film)
Minority Report study guide contains a biography of Steven Spielberg, literature essays, quiz questions, major themes, characters, and a full summary and analysis.
- About Minority Report (Film)
- Minority Report (Film) Summary
- Character List
- Director's Influence
Essays for Minority Report (Film)
Minority Report literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of the movie Minority Report directed by Steven Spielberg.
- Spielberg's Interpretation of Minority Report
- The Perpetual Exploitation of Minorities in Philip K. Dick’s “Minority Report” and Steven Spielberg’s Minority Report
- A Comparison of Spielberg's film and Dick's novella, Minority Report
Wikipedia Entries for Minority Report (Film)
15 Major Facts About Minority Report
By roger cormier | jun 21, 2017.
The 2002 movie Minority Report was a long-planned collaboration between actor Tom Cruise and director Steven Spielberg. Based on Philip K. Dick’s short story of the same name, the movie explores a future in which criminals are captured before they commit their crimes. Here are 15 things you might not have known about the first Hollywood movie to feature a completely digital production design , on its 15th anniversary.
1. IT WAS ORIGINALLY INTENDED AS A SEQUEL TO TOTAL RECALL .
Total Recall was another movie adaptation of a Philip K. Dick story. The Minority Report movie rights were held by cinematographer-turned-director Jan de Bont ( Speed , Twister ) at one point, who ended up getting a producer credit on the film without ever setting foot on set. Eventually Cruise approached Spielberg about an early version of the script, written for de Bont by Jon Cohen, which Spielberg hired Scott Frank to rewrite . When Cruise and Spielberg’s schedules were finally both clear at the same time, they went to work.
2. IT WAS INTENDED AS A FUTURISTIC VERSION OF THE FRENCH CONNECTION .
Spielberg and screenwriter Scott Frank met for months to talk about the story for Minority Report before the outlining stage even began. The general idea the two came up with was doing The French Connection , but set in the year 2050 .
3. MERYL STREEP SIGNED UP TO PLAY DR. IRIS HINEMAN.
Streep's casting was reported in March of 2001 , but she didn’t end up in the film at all (Lois Smith played the part). Matt Damon was offered the role of Danny Witwer, but couldn’t do it because of Ocean’s Eleven . Cate Blanchett was offered the part of the precog Agatha, Jenna Elfman was offered Lara Clarke, and Sir Ian McKellen could have been Lamar Burgess.
4. STEVEN SPIELBERG TOLD TOM CRUISE NOT TO TAKE A SALARY.
At the time, Spielberg claimed that he had not taken a salary on a movie in 18 years. And he wanted Cruise to do the same. Instead, the two reportedly agreed to receiving no upfront money in exchange for approximately 15 percent of the box office apiece. (The film made more than $358 million worldwide.)
5. SPIELBERG WANTED TO GET DIRTY.
Spielberg told his longtime cinematographer, Janusz Kaminski, that he wanted Minority Report to be the “ugliest, dirtiest movie” he had ever made. This was partially achieved by Kaminski’s “bleach bypass” approach to post-production, which pulled “about 40 percent” of the color out of the final images, but more color was added to the lights. The bleached-out feature gave the film deep shadows and bright highlights.
6. A THINK TANK WAS ORGANIZED TO HELP IMAGINE THE FUTURE.
In order to determine what the world might be like in the year 2054, Spielberg brought together 23 futurists for a brainstorming session. He wanted a reality-based future instead of a science fiction-informed one. All 23 of the participants believed that privacy was going to be a thing of the past. An 80-page “2054 bible” was on hand to keep the movie’s universe consistent.
7. TIM BLAKE NELSON WAS TOLD TO USE A BOSTON ACCENT.
The Oklahoma-born Nelson (Gideon) was thrown a little bit when Spielberg and Cruise went through his rehearsed lines and made some last-minute changes, including the addition of a Boston accent. "It seemed so arbitrary," Nelson told The A.V. Club , "but it was really a brilliant piece of direction because everything suddenly started to click. Not only did it click in terms of pushing me to an extreme that he would appreciate and would work for his movie but every single change they made suddenly made sense rhythmically."
8. THE PRECOGS WERE NAMED AFTER FAMOUS AUTHORS.
Arthur, Agatha, and Dashiell were named for the mystery writers Sir Arthur Conan Doyle, Agatha Christie, and Dashiell Hammett.
9. THE CAR FACTORY SCENE WAS BASED ON AN UNFILMED SCENE IN A HITCHCOCK MOVIE.
Hitchcock wanted to put something similar in North by Northwest .
10. CRUISE DID HIS OWN BATHTUB STUNTS.
Cruise's John Anderton managed to make an air bubble in the tub because of the actor playing him, not from CGI, which Spielberg was prepared to use. Cruise wanted to do it naturally.
11. COLIN FARRELL NEEDED 36 TAKES TO NAIL ONE LINE.
“I’m sure you all understand the fundamental paradox of Precrime methodology” was the one Witwer line that gave Farrell trouble. The actor’s defense was that it was the morning after his birthday. "And I got worse as we went along," Farrell told IGN .
12. A FOURTH OF THE BUDGET WAS FINANCED BY PRODUCT PLACEMENT.
Toyota paid $5 million to get a futuristic Lexus called the Mag-Lev in Minority Report . Nokia shelled out $2 million for the characters to wear Nokia headsets. The Gap, Pepsi, American Express, and Reebok got in on the sci-fi action, too.
13. CAMERON DIAZ AND CAMERON CROWE MADE CAMEOS ON THE TRAIN.
After Spielberg made a cameo in Cameron Crowe's Vanilla Sky (which starred Cruise and Cameron Diaz), Crowe returned the favor. Originally Crowe was going to be a futuristic bum , but his role was changed to a businessman reading the newspaper. Diaz played a businesswoman talking on her cell phone right behind Crowe.
14. PAUL THOMAS ANDERSON WAS ALSO ON THAT TRAIN.
But even Anderson couldn’t find himself in the movie.
15. JOHN WILLIAMS SCORED THE FILM, BUT CAME TO THE PROJECT RATHER LATE.
Typically, longtime collaborators John Williams and Steven Spielberg begin discussing and working on the score for a project in the very early stages of production. In the case of Minority Report , Williams didn't come aboard until the film was mostly shot. Which ended up working out well for Williams, as he was able to experience the many twists and turns of the film before creating its music, and create an emotional arc to complement that. His noir-style composition for Minority Report was meant to end on a hopeful note for the future. "That surprises a lot of people," Williams said . "We've been in a dark, futuristic mode and then, unexpectedly, there's this lyricism reflecting a sense of innocence and hope."
- Minority Report
Minority Report - Cast
Max von Sydow
Tim Blake Nelson
By Peter Travers
Don’t get me wrong. Steven Spielberg’s Minority Report — starring a focused, feeling Tom Cruise as a D.C. cop of the future who stops crime before it happens — is a major accomplishment. It’s revved up on visionary action, laced with dark humor and powered by a topical idea: how much freedom are we willing to sacrifice to feel secure at home? That sure beats Scooby-Doo for smarts.
So here’s the rub. Despite rave reviews — Ebert’s thumb hit masterpiece level — this R-rated film’s opening weekend box-office of $36 million was nearly $20 million below Scooby-Doo’s take. Spielberg knows what smart, dark and bleak can get you: A.I. , his commendably risky 2001 collaboration with the late Stanley Kubrick, faded quickly.
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Spielberg’s source material this time is a 1956 short story by Philip K. Dick (his fiction inspired Blade Runner and Total Recall ) cannily adapted by Scott Frank and Jon Cohen and set in the year 2054. Cruise’s John Anderton watched his life come apart six years ago when his son was kidnapped — divorce and drugs ensued — just as his Pre-Crime unit took off. Using the skills of a trio of psychics named after three great mystery writers — Arthur (Conan Doyle), Dash (Hammett) and Agatha (Christie) — these pre-cogs lie in a pool in a secure space called the Temple and see murders-to-be that computers turn into images and Anderton orchestrates into police action. It works. D.C. hasn’t had a murder in years. Now Pre-Crime may go national, unless the Justice Department, led by ex semanarian Danny Witwer (Colin Farrell, excellent), screws things up for bossman Lamar Burgress (Max Von Sydow). Anderton can’t help; he goes on the run when the pre-cogs predict he will murder someone in thirty-six hours. Only the fragile Agatha, beautifully played by Samantha Morton, can prove him innocent.
It’s a hell of a setup. Spielberg pulls out of every techno trick, from jet-powered police squads to mechanical spiders who perform retina scans in the film’s funniest and most suspensful scene. Spielberg and his crew, along with Cruise and a terrific cast that includes Lois Smith and Peter Stormare, rate cheers for grabbing us hard. But their grip falters. Minority Report blends f/x and film noir, but so did Blade Runner . And the whodunit plot is easily guessable. Worse, the script raises moral questions it doesn’t probe. Then there’s the gooey sentiment that invades the film’s final third, turning what Spielberg hoped would be his “ugliest, dirtiest” film into mainstream business as usual. Final Report: Good, yes; great, no.
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- DVD & Streaming
- Action/Adventure , Mystery/Suspense , Sci-Fi/Fantasy
- Tom Cruise as Detective John Anderton; Max von Sydow as Director Burgess; Steve Harris as Jad; Neal McDonough as Officer Fletcher; Patrick Kilpatrick as Knott; Jessica Capshaw as Evanna
Home Release Date
- Steven Spielberg
- 20th Century Fox
In a perfect world, murderers would be caught before they could kill, and the innocent would never live in fear. But even when the coupling of science and humanity produces the tools to prevent crime before it occurs, people still manage to mess things up. It’s 2054. Detective John Anderton is a pre-crime officer in Washington, D.C. He flies around with his jetpack, taking down bad guys before they can do bad things. And then John is identified as a future killer. In an instant, the full weight of the system he’s fought so valiantly for and served so faithfully comes crashing down on top of him.
It’s not a computer or an alien life-force that predicts future killers. It’s three highly-sensitive precognitive people. Since murder so forcefully “disrupts the fabric of life,” that’s what they see the most clearly. Murder after murder after murder after murder. Their visions are recorded as fragmented video images for the police officers to scrutinize. The names of the victims and perpetrators are burned into wooden balls—which roll down a maze of Plexiglas pipe before plopping down in front of waiting enforcers (think of the system as a giant, Steven Spielberg-inspired Mousetrap game).
When John finds himself on the lam, desperately trying to prove his innocence of a crime he’s yet to commit, his turbulent past reaches out to possess him. He and his wife lost their 6-year-old boy to an act of murder just before the “pre-cogs” effectively did away with capital crime. He’s never recovered, and has devoted his life to sparing others the agony he’s endured. That’s a good thing, but his obsession led to divorce and drug addiction. He knows he’s not going to kill the man he’s “supposed to,” but how is he going to convince anyone else? There’s no such thing as a conspiracy in a system that never fails .
positive elements: Minority Report provides numerous opportunities to think about and discuss the idea of judging someone for what they might do instead of what they’ve done. Prosecuting potential criminals seems to have great appeal at first blush, but as Minority Report shows, there’s more to justice than “keeping everyone safe.” Only God knows a man’s heart, and while Spielberg never evokes God’s overarching presence, his portrayal of humanity’s bumbling grasp on secret intent and future events speaks directly to this spiritual issue. The other area that gets specific attention is that of free will. A theme throughout is that John has choices. Just because a pre-cog predicted his actions, doesn’t mean he has to go through with it. There is always a way out. (Look at 1 Cor. 10:13 for a biblical parallel.)
spiritual content: While spiritual lessons can be drawn from the film, its only overt spiritual content is negative. Predicting the future is essentially a spiritual ability. But Minority Report attributes precognitive abilities to nothing other than chance, chemical combinations and hyper-sensitivity. A man finding himself in the presence of one of the pre-cogs, falls to his knees in front of her, crosses himself and blasphemously utters the name of Jesus. Detectives refer to themselves as “more like priests than cops” since they directly change the course of destiny in people’s lives.
sexual content: Opening scenes intertwine snippets of passionate kissing and a brutal stabbing. (It turns out that a man discovers his wife bedding someone else.) A holographic recording of John’s ex-wife shows her wearing a nightie and enticing him to come to bed. While mechanical police drones (in the form of spiders) search an apartment building, the camera flits overhead, spying on people in their homes (one couple is having sex). Another hologram shows a man’s sexual fantasy (the images are brief and distorted, but the sexual connotations are clear). Suggestive dialogue includes slang for sexual acts and even references the desires a man has for his cousin.
violent content: Disturbing, disjointed images of future murders play across police video screens. Drownings. Stabbings. Shootings. Strangulations. There’s also a lot of violence while John runs from his former colleagues. Personal jetpacks allows for high-speed, airborne combat, raising the pursuit’s stakes. John slams one of the cops against a wall and puts a gun to his chin (later he breaks a mirror with another man’s head and points a gun at him, too). Stealing an officer’s “sick stick,” John immediately uses it, causing the victim to projectile vomit. Shockwave guns throw men across rooms, but futuristic methods of violence quickly give way to old-fashioned fisticuffs. At least two men are shot in the chest (blood spurts and oozes). There is also a suicide.
crude or profane language: One forceful f-word and a half-dozen s-words. The Lord’s name is abused more than a dozen times.
drug and alcohol content: John is addicted to a futuristic substance called “clarity.” He breathes in the drug using what looks like a modified asthma inhaler. While his doping is illegal and frowned on by officers who find out about it, John never comes clean and the issue is dropped without resolution. Also, there’s a futuristic ad shown for beer, and alcohol is consumed by various characters.
other negative elements: [ Spoiler Warning ] Since security systems in John’s world rely almost exclusively on retinal scans, eye transplants have become a black market gold mine. Running from his old unit, John undergoes a back-alley eyeball swap to hide his identity from public scanners. The portrayal of the surgery is relatively bloodless, but John takes his old eyes with him in a plastic baggie. In one scene, the bloody orbs get away from him and roll down a hallway. There’s also talk about a plastic surgeon setting fire to his patients while they were under anesthesia. A subplot deals with the abduction and murder of children. A derelict makes an obscene gesture at police. A man is shown using the bathroom.
conclusion: Minority Report is an old-fashioned murder mystery dressed up in futuristic clothes. Sometimes those clothes are cool and comfy; other times they feel a bit stiff and scratchy. Personal jetpacks, spider drones, shockwave guns and bizarre elevator-style autos are all a bit over the top even for 2054. And the computers! If my wrists hurt now from pounding away at this keyboard, they’ll be in eternal agony if Spielberg’s vision for the future comes true. Computer users have to transform themselves into orchestra conductors just to keep the clunky things running. And don’t get me started on those “invisible” flat plexi screens. To be sure, Minority Report ‘s heart beats strongest when it focuses on the mystery, not the future.
A lot could be written about the sociopolitical ramifications of a justice system that pre-judges crime. And Spielberg quite expertly opens that can of worms. But don’t expect Minority Report to explore the moral ramifications of its subject matter as much as A.I. did. (It’s not nearly as melancholy, either.) This is much more a mystery than an exploration of the meaning of life. “It’s like a whodunit,” Spielberg says. “It’s a ‘who will do it.'” Spielberg even shot the film using a dim, grainy technique to evoke comparisons to the grand mysteries of yore. And it works. Based on a short story by the man who conceived Blade Runner (Philip K. Dick), the yarn spools out convincingly as John gradually learns why he has become a target. Hint: Politics and money are never bad guesses. The only big hole in the story’s fabric is that John uses his old eyeballs to get back into his office while he’s being pursued. Wouldn’t the security codes be changed the instant he’s fingered for the crime? Still, the story carries you along to a strong conclusion and the mystery is satisfactorily solved. Sadly, one cannot use the term “satisfactorily” in this context without weighing it down with a giant asterisk. And that asterisk denotes gore, violence, foul language and sexual content. Not easy things to get around even when there is a good story to be told.
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Minority report, common sense media reviewers.
Violent sci-fi detective movie isn't for the faint of heart.
A Lot or a Little?
What you will—and won't—find in this movie.
These future police use technology to arrest peopl
Intense peril and violence, including murder and s
Mild sexual references -- couples kissing and prep
Some strong language, including one use of "f
Character abuses drugs; reference to addicts. Some
Parents need to know that the movie has some graphic violence, including sci-fi shooting, fistfights, brutal and graphic murders, and suicides. Anderton abuses illegal drugs. Viewers see a flashback of his son's abduction. The movie also has some gross and grisly visuals, particularly when Anderton has his eyes…
These future police use technology to arrest people for crimes before they even commit them. When one of them needs to go rogue, he resorts to some questionable methods to stay free and undetected. Some strong female characters.
Violence & Scariness
Intense peril and violence, including murder and suicide, and a grisly operation.
Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.
Sex, Romance & Nudity
Mild sexual references -- couples kissing and preparing for sex, fantasy vision of ideal woman, other suggestions of sex.
Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.
Some strong language, including one use of "f--k," as well as "s--t," "ass," "hell," etc.
Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.
Drinking, Drugs & Smoking
Character abuses drugs; reference to addicts. Some smoking (fairly background).
Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.
Parents Need to Know
Parents need to know that the movie has some graphic violence, including sci-fi shooting, fistfights, brutal and graphic murders, and suicides. Anderton abuses illegal drugs. Viewers see a flashback of his son's abduction. The movie also has some gross and grisly visuals, particularly when Anderton has his eyes replaced as a way of avoiding the retinal scans that the police use to track everyone's whereabouts. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .
Where to Watch
Videos and photos.
- Parents say (7)
- Kids say (42)
Based on 7 parent reviews
Fine for teenagers, a fun ride into the future!!
A very intense sci-fi thriller; definitely not for everyone., what's the story.
50 years from now, in Washington, D.C., detective John Anderton ( Tom Cruise ) heads up an experimental "pre-crime" program that wires the brains of genetically altered "precogs" (short for "precognition") to computers that display their glimpses of the future. Anderton monitors the images to identify and catch murderers before they kill. There's no way to know if everyone who's arrested under this program would have become a killer, but since the program began there hasn't been a single murder in Washington. Anderton only feels alive when he's stopping a crime. At home, he's a lonely soul devastated by the probable murder of his son and a failed marriage, numbing himself with drugs and old home movies. The only thing he's able to feel is the satisfaction of sparing others from the agonizing pain that he's suffered. And then the precogs' identify Anderton himself as the next killer. He has to run -- and as he's running, he has to figure out how you prove that you're not going to commit murder.
Is It Any Good?
The movie is visually stunning, with brilliantly staged action sequences and vividly realized characters. As with Blade Runner , also based on a story by Philip K. Dick, this is a very traditional noir-ish detective plot set in an ominous future where the apparent ease created by technology has overtaken human individuality. How much privacy and justice would you be willing to give up to bring the murder rate down to zero? Anderton finds that it's less than he thought.
The most striking scene in the movie is Alderton's meeting with the scientist who created the precogs (a brilliant performance by Lois Smith), who never anticipated the direction her experiment would take. Like Norse god Odin, Anderton must give up his eyes to find wisdom; it's only when he literally looks through someone else's eyes that he can understand what he's seeing. Colin Farrell is mesmerizing as Anderton's rival, and Max von Sydow brings great depth to his role as Anderton's boss.
Talk to Your Kids About ...
Families can talk about private vs. public good. Is it worth violating the rights of some innocent people in order to prevent violent attacks? How would Anderton answer that question at the beginning of the movie, and how would he answer it at the end? What about the rights of the precogs? Is it fair to ask them to give up any kind of normal life if it will prevent people from being killed? Families can also discuss Anderton's inability to come to terms with the loss of his son. How do people go on after devastating losses? Also, what do you think daily life will be like half a century from now.
- In theaters : June 21, 2002
- On DVD or streaming : December 17, 2002
- Cast : Colin Farrell , Samantha Morton , Tom Cruise
- Director : Steven Spielberg
- Studio : DreamWorks
- Genre : Science Fiction
- Run time : 146 minutes
- MPAA rating : PG-13
- MPAA explanation : violence, peril, murder, language, and drug use
- Last updated : September 16, 2023
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Minority Report Tried to Warn Us About Technology
Steven Spielberg’s film predicted how having more convenience would mean sacrificing personal freedom.
In Minority Report , when the detective John Anderton goes on the run in Washington, D.C., one of the first things he needs to do is swap out his eyes. The police of Steven Spielberg’s film, set in 2054, are not the only ones tracking people with eye-scanning machines mounted around the city. Public transit does so too, as does every business, and even all the billboards, which scream slogans such as “John Anderton! You could use a Guinness right about now!” as he walks by them.
That tracking system is the most mundanely frightening part of the film’s surveillance-state future, in which you might be arrested for a crime you haven’t yet committed. After a harrowing back-alley surgery, Anderton (played by Tom Cruise) reemerges into society with a new set of eyes. When he pops into a store, a holographic attendant greets him cheerfully: “Hello, Mr. Yakamoto! Welcome back to the Gap! How did those assorted tank tops work out for you?” The laugh line is much needed in a high-tension movie, but when I watched Minority Report recently, in a time when every social-media app I use seems to be listening to and anticipating my wants and desires, the gag sent a new chill up my spine.
When Minority Report hit theaters 20 years ago, it was marketed mainly as a long-awaited first-time collaboration between Hollywood’s biggest director and one of its biggest stars. Beyond that, 20th Century Fox and DreamWorks mostly promised an action-packed chase movie, pushing the punchy tagline “Everybody runs.” The film certainly delivers on that front, with some of the most inventive visual flourishes of Spielberg’s career. In one scene, a team of flying policemen smashes into an apartment where dinner’s being made, and one of their jet packs flash-fries some burger patties . In another, Anderton fights his would-be captors in an auto factory, dives into the assembly line, and then drives away in a newly built car—a set piece Alfred Hitchcock had once supposedly fantasized about including in North by Northwest.
And yet: Every bit of Spielbergian fun in Minority Report is laced with unspoken menace. Lexus designed the avant-garde cars, depicting what automobiles of tomorrow might actually look like. The sleek design is appealing, but the car is also a self-driving pod that offers its user no real control, changing direction to take Anderton straight to jail when he’s eventually discovered. A wide array of forward-thinking technology in the film was cooked up by experts whom Spielberg asked to envision life five decades hence, and in almost every case, advances in convenience come with insidious restrictions on personal freedom.
Read: Minority Report and the drawbacks of foresight
The central concept of Minority Report , based on a novella by Philip K. Dick, is that D.C.’s new “Precrime” division has eliminated murder in the city by tapping the brains of three psychics dubbed “precogs,” whose dreams of death are used to prevent killings before they happen. The notion is troubling: Police scrutiny has expanded into a guessed-at future, though the program is publicly presented as such a triumphant success that the city is lobbying to expand it nationally. “We are arresting individuals who have broken no law,” grouses Danny Witwer (Colin Farrell), the Department of Justice agent brought in to evaluate the system. But they will , he’s assured. Anderton is Precrime’s most devoted advocate—until the precogs predict that he’ll murder someone in the next 36 hours.
That’s when he goes on the run, resolute in the belief (like much of the quarry he’s chased) that he’s innocent. And then the superficially benevolent culture around him starts to close in. The viewer never sees any public opposition to Precrime, or to the brutal tactics employed by its agency; propagandistic commercials boasting about the end of murder are seemingly enough to silence any protest. One extraordinary sequence sees Anderton hiding out in an apartment building after his eye surgery. The cops storm in, but rather than simply batter down doors, they toss out insect-like drones named “Spyders” that roam the halls, scanning every inhabitant. In one unbroken shot , the camera pans from room to room as the Spyders breach each home, a sinister manifestation of a society without privacy.
Minority Report ’s world building never feels particularly didactic—Spielberg’s persistent need to entertain his viewers means that even the most unsettling material is a delight to watch and rewatch. Still, the film was not quite a runaway success on the scale of his other releases around that time, such as The Lost World: Jurassic Park and Saving Private Ryan . It grossed only $132 million domestically. Summer theatergoers may have picked up on the movie’s gloomy tone: Spielberg’s regular cinematographer, Janusz Kamiński, gave it a washed-out color palette by overlighting scenes and then bleach-bypassing the film negative, similar to what he’d done for Saving Private Ryan . The aesthetic is pitch-perfect for the noir-y tale Spielberg is telling. But in the summer after September 11, 2001, the films that did best at the box office had a much poppier accent, including Sam Raimi’s Spider-Man and the breakout hit My Big Fat Greek Wedding .
The dark outlook is, however, of a piece with much of Spielberg’s oeuvre in the 2000s. In the years just before and after Minority Report , his output ranged from mercilessly sad to doggedly bittersweet. By 2005, he’d made two of his grimmest works and his most obvious responses to 9/11, War of the Worlds (which reunited him with Tom Cruise) and the acidic revenge film Munich . War of the Worlds depicts mass destruction (via alien invasion) with visceral terror, and Munich investigates the worthlessness and cruelty of government-sponsored vengeance after a national tragedy.
But Minority Report , though it was written and filmed before 9/11, might be Spielberg’s most prescient work of all. Tasked with predicting our near future, he imagined an America filled with dazzling inventions but rotting from the inside out, one in which the erosion of civil liberties is thinly veiled by chest-thumping braggadocio about technology’s power to solve every problem. Spielberg's eye-scanning cameras and autocratic cops could easily be exchanged with the overreach of the PATRIOT Act, or the NSA listening in to casual conversations. The film’s warning is one the world is only beginning to heed. We may not have precogs dreaming of murders in police precincts, but so much beloved technology of today is just as effective at watching and constricting our lives.
Samantha Morton (I)
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Minority Report (Movie)
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Minority Report is a 2002 American neo-noir science fiction mystery-thriller film directed by Steven Spielberg and loosely based on the short story of the same name by Philip K. Dick . It is set primarily in Washington D.C. , and Northern Virginia in the year 2054, where " PreCrime ", an experimental, specialized police department, apprehends criminals based on foreknowledge provided by three psychics called " Precogs ". The cast includes Tom Cruise as PreCrime Captain John Anderton , Colin Farrell as Department of Justice Agent Danny Witwer , Samantha Morton as the Precog Agatha , and Max von Sydow as Anderton's superior Lamar Burgess . The film is a combination of action, thriller and science fiction.
Spielberg has characterized the story as "fifty percent character and fifty percent very complicated storytelling with layers and layers of murder mystery and plot".
The film was first optioned in 1992 as a sequel to another Dick adaptation, Total Recall , and started its development in 1997, after a script by Jon Cohen reached Spielberg and Cruise . Production suffered many delays due to Cruise's Mission: Impossible II and Spielberg's A.I. running over schedule, eventually starting in March 2001. During pre-production, Spielberg consulted numerous scientists in an attempt to present a more plausible future world than that seen in other science fiction films, and some of the technology designs in the film have proven prescient. Minority Report has a unique visual style. It uses high contrast to create dark colors and shadows, much like a film noir picture. The film's overlit shots feature desaturated colors which were achieved by bleach-bypassing the film's negative in post-production.
Minority Report was one of the best reviewed films of 2002. It received praise for its writing, visuals and themes, but earned some criticism for its ending which was considered inconsistent with the tone of the rest of the movie. The film was nominated for and won several awards. It received an Academy Award nomination for Best Sound Editing, and eleven Saturn Award nominations, including Best Actor, Best Supporting Actor, and Saturn Award for Best Music, winning Best Science Fiction Film, Best Direction, Best Writing, and Best Supporting Actress. The film was a commercial success, earning over $358 million worldwide against an overall budget of $142 million (including advertising). Over four million DVDs were sold in its first few months of home release.
- 1.1 Case Number 1108
- 1.2 Case Number 1109
- 2 Themes Explored
- 3.1 Main Cast
- 3.2 Guest Stars
- 4 Producers
- 6 Cinematography
- 7 Locations
- 8 Organizations
- 10 Technology
- 11.1 Posters
- 11.2 Promotional Videos
Plot Summary [ ]
Minority Report takes place in a futuristic Washington D.C. in 2048, where the PreCrime Division, a specialized agency using the Precognitives , stops crimes before they happen.
Case Number 1108 [ ]
Case number 1109 [ ], themes explored [ ].
The film's central theme is the question of free will versus determinism. It examines whether free will can exist if the future is set and known in advance. Other themes include the role of preventive government in protecting its citizenry, the role of media in a future state where technological advancements make its presence nearly boundless, the potential legality of an infallible prosecutor, and Spielberg's repeated theme of broken families.
Main Cast [ ]
- Tom Cruise as John Anderton
- Samantha Morton as Agatha
- Micheal Dickman as Arthur
- Matthew Dickman as Dash
- Daniel London as Wally
- Max von Sydow as Lamar Burgess
- Kathryn Morris as Lara Anderton
- Steve Harris as Jad
- Neal McDonough as Fletcher
- Patrick Kilpatrick as Knott
- Jessica Capshaw as Evanna
- Colin Farrell as Danny Witwer
- Lois Smith as Dr. Iris Hineman
Guest Stars [ ]
- Richard Coca as Pre-Crime Cop
- Keith Campbell as Pre-Crime Cop
- Kirk B.R. Woller as Pre-Crime Cop
- Klea Scott as Pre-Crime Cop
- Frank Grillo as Pre-Crime Cop
- Anna Maria Horsford as Casey
- Sarah Simmons as Lamar Burgess' Secretary
- Eugene Osment as Jad's Technician
- James Henderson as Office Worker
- Erica Ford as Employee
- Keith Flippen as Tour Guide
- Nathan Taylor as Kid Tourist
- Karina Logue as Technician
- Elizabeth Anne Smith as Technician
- Victoria Garcia-Kelleher as Technician
- Jim Rash as Technician
- Stephen Ramsey as Jucket - Agent#1
- Tom Choi as Paymen - Agent#2
- Tom Whitenight as Price - Agent#3
- William Morts as Foley - Agent#4
- Tim Blake Nelson as Gideon
- George Wallace as Chief Justice Pollard
- Ann Ryerson as Dr. Katherine James
- Kathryn Morris as Lara Clarke
- Tyler Patrick Jones as Older Sean
- Dominic Scott Kay as Younger Sean
- Arye Gross as Howard Marks
- Ashley Crow as Sarah Marks
- Mike Binder as Leo Crow
- Joel Gretsch as Donald Dubin
- Jessica Harper as Anne Lively
- Bertell Lawrence as John Doe
- Jason Antoon as Rufus Riley
- William Mesnik as Cyber Parlor Customer
- Scott Frank as Conceited Customer
- Severin Wunderman as Skiing Customer
- Max Trumpower as Homeless Person
- Allie Raye as Hamburger Mom
- Rocael Leiva as Hamburger Dad
- Nicholas Edwin Barb as Homework Boy
- Catfish Bates as Tenement Snitch
- Peter Stormare as Dr. Solomon Eddie
- Caroline Lagerfelt as Greta van Eyck
- Danny Parker-Lopes as Man
- Vanessa Cedotal as Woman
- Katy Boyer as Mother
- Adrianna Kamosa as Child
- Kari Gordon as Child
- Elizabeth Kamosa as Child
- Raquel Gordon as Child
- Laurel Kamosa as Child
- Fiona Hale as Old Woman
- Pamela Roberts as Violent Wife
- Clement Blake as Husband
- Jerry Perchesky as Grandfather
- Victor Raider-Wexler as Attorney General Nash
- Nancy Linehan Charles as Celeste Burgess
- Nadia Axakowsky as Reporter
- Dude Walker as Reporter
- Tony Hill as Reporter
- Drakeel Burns as Reporter
- William Mapother as Hotel Clerk
- Morgan Hasson as Paperboy
- Andrew Sandler as Marks' Son
- Bonnie Morgan as Contortionist
- Kathi Copeland as Murder Bystander
- Ana Maria Quintana as Murder Bystander
- Lucille M. Oliver as Murder Bystander
- Gene Wheeler as Murder Bystander
- Tonya Ivey as Gap Girl
- David Stifel as Lycon
- Kurt Sinclair as Adulation #1
- Rebecca Ritz as Adulation #2
- Beverly Morgan as Adulation #3
- John Bennett as Adulation #4
- Maureen Dunn as Adulation #5
- Rona Ulstad as Adulation #6
- Blake Bashoff as Pre-Crime Public Service Announcer
- David Doty as Pre-Crime Public Service Announcer
- Gina Gallego as Pre-Crime Public Service Announcer
- David Hornsby as Pre-Crime Public Service Announcer
- Anne Judson-Yager as Pre-Crime Public Service Announcer
- Meridith Monroe as Pre-Crime Public Service Announcer
- Benita Krista Nall as Pre-Crime Public Service Announcer
- Shannon O'Hurley as Pre-Crime Public Service Announcer
- Jorge-Luis Pallo as Pre-Crime Public Service Announcer
- Elizabeth Payne as Pre-Crime Public Service Announcer
- Ethan Sherman as Revo Sunglass Model
- Jarah Mariano as AMEX Polynesian Woman
- Miles Dinsmoor as Guinness Man
- Vanessa Asbert as Bulgari Model
Producers [ ]
Cinematography [ ], locations [ ].
- Washington Monument (First appearance)
Organizations [ ]
- Department of PreCrime
Vehicles [ ]
Technology [ ].
- Sonic Pistol
Advertising and Marketing [ ]
Posters [ ].
Promotional Videos [ ]
- 2 John Anderton
The Untold Truth Of Minority Report
In 2002, Steven Spielberg and Tom Cruise joined forces for the first time for the blockbuster "Minority Report." This tale of a future America where crime is prevented before it even happens is a harrowing piece of cinema, and it's one that's thrilling but also has genuine weight to its depiction of a man on the run. There are grave consequences to everyone's actions, which only makes the story extra immersive. Coming out in the early 2000s alongside other darker Spielberg fare like "A.I.: Artificial Intelligence" and "Munich," "Minority Report" is a fascinating entry into one of the boldest eras of this director's filmography. Despite making quite a bit of money at the box office, though, there's plenty about "Minority Report" that most people simply don't know.
The history of "Minority Report" is wide-ranging and covers everything from how long Cruise and Spielberg had been planning to work together to the specific vision Spielberg had for this futuristic society to what movie "Minority Report" was originally supposed to be a sequel to. Much like with the tiniest details in a vision offered up by the future-seeing precogs, there's a lot to unpack in the untold truth of one of Spielberg's grimmest and most propulsive blockbusters.
Minority Report was once set to be a Total Recall sequel
Years before Steven Spielberg and Tom Cruise brought "Minority Report" to the big screen, audiences almost saw a radically different version of this project. Per Gizmodo , Philip K. Dick's short story "Minority Report" was optioned in the 1990s for a feature film that would be helmed by "Total Recall" director Paul Verhoeven. When looking over the story, Verhoeven felt it would be perfect material for a sequel to his 1990 film "Total Recall." The connection between these two sci-fi properties wasn't totally random, as "Total Recall" was based on another Phillip K. Dick story, "We Can Remember It For You Wholesale."
From there, the follow-up began to move quickly into production, with "Total Recall" leading man Arnold Schwarzenegger agreeing to come back for the sequel. However, just as the project was getting off the ground, Carolco — the production company in charge of the feature — went bankrupt. The script then got snagged by 20th Century Fox, who decided to make a stand-alone "Minority Report" movie that didn't have any connection to "Total Recall." This eventually lead to Spielberg's take on "Minority Report," which was co-produced by 20 th Century Fox. While the final version of "Minority Report" garnered widespread acclaim , fans of "Total Recall" are doubtlessly disappointed they never got a sequel to this film.
Why Steven Spielberg was attracted to Minority Report
There was a lot that might make "Minority Report" an attractive project for director Steven Spielberg. For one thing, it was a production that would unite the filmmaker with Tom Cruise, an actor he'd not yet had the chance to work with. For another, it was a science-fiction film, a genre Spielberg had extensive experience with, dating back to his work on "Close Encounters of the Third Kind" in 1978. Finally, the plot concerned a broken family, a recurring fascination for Spielberg in his films in everything from "E.T.: The Extra-Terrestrial" to "Empire of the Sun."
However, what specifically attracted Spielberg to the world of "Minority Report" was how it was largely something he'd never done before. Talking to Seattle PI, Spielberg noted that he'd never made a mystery movie like "Minority Report," which was steeped in the kind of uncertainty and griminess that defined so many vintage noirs he loved. He explained, "I had never structured a mystery before. ... I went back to (the ones) I remembered loving, like 'The Man Who Knew Too Much,' 'North By Northwest,' 'The Maltese Falcon' and 'Key Largo.' I had a field day looking at, you know, what's the protoplasm that makes those mysteries work." Within these exciting new confines, Spielberg was able to tap into some familiar storytelling elements , but it was the unprecedented aspects of "Minority Report" that truly excited him as an artist.
Tom Cruise and Steven Spielberg's long desire for collaboration
"Minority Report" wasn't just another Tom Cruise action movie nor was it just another sci-fi film helmed by Steven Spielberg. This was a momentous moment in the career of both of these men, as it finally gave Cruise and Spielberg a chance to work with each other. It was no coincidence that the duo was finally making a movie together on "Minority Report," either, as they had been trying to unite forces for years.
Speaking to Entertainment Weekly , Spielberg recalled how he had first met Cruise on the set of "Risky Business" back in the early 1980s. Right then and there, a spark began to form between the two and they were determined to work together. Cruise put it plainly: "I just knew I wanted to work with the guy. Even back then he was Steven Spielberg. The guy who did 'E.T.' and 'Raiders of the Lost Ark.”' Years went by, however, as they kept trying to figure out the perfect project to join forces on.
Things almost came together for them when Spielberg was set to direct Cruise on 1988's "Rain Man." However, Spielberg had to depart the film because of scheduling conflicts with "Indiana Jones and the Last Crusade," but he never gave up on his ambitions of directing a Tom Cruise star vehicle. Eventually, Cruise brought "Minority Report" to Spielberg, and suddenly, these years of yearning came to fruition. Finally, here was a production that united an iconic director with an equally iconic actor.
Minority Report was supposed to be made before A.I.
At the dawn of the 21 st -century, speculation was running rampant over what would be the next Steven Spielberg directorial effort. The filmmaker's last film had been the 1998 feature "Saving Private Ryan," which scored Spielberg his second Best Director Oscar win and was one of the highest-grossing films of the year (via Box Office Mojo ). These feats, combined with the man's reputation as one of the most acclaimed and successful directors ever, meant that all eyes were on where he would go next. "Minority Report" initially looked like a potentially ripe candidate to be the first Spielberg movie of the 2000s, especially once he turned down the opportunity to direct "Harry Potter and the Sorcerer's Stone" (via The Guardian ).
Plans to have "Minority Report" film in the first year of the 21 st -century were scuttled in March 2000 when it was announced that Spielberg would be helming "A.I.: Artificial Intelligence" first (via BBC News ). "A.I" was a production that had been lingering on Spielberg's "to-do list" for years, but it took precedent once Stanley Kubrick, who wrote the screenplay for "A.I.," passed away in March 1999. Kubrick had spent decades writing "A.I." and this, combined with the deep bond he and Spielberg shared, inspired Spielberg to make this film a priority. So, the start date of "Minority Report" got pushed to April 2001, which meant it would not have the honor of being Spielberg's first directorial effort of the new century.
Matt Damon was supposed to be in Minority Report
While Tom Cruise was always set to anchor the world of "Minority Report" as the protagonist John Anderton, several other actors came and went from the film's supporting cast over the course of its production. Many of these were massive names, who could've been right at home with the level of prestige associated with Cruise and Steven Spielberg. One such person was Matt Damon, who was approached to play a character who has a kinship with John, but then is forced to hunt him down when John is pre-accused of murder.
Per USA Today , Damon was interested in the part, and his then-recent Oscar win for writing "Good Will Hunting" would have made him an appropriately acclaimed artist for such a star-studded project. Plus, Damon and Spielberg had already worked together once before on the box office juggernaut "Saving Private Ryan." While Damon was dying to reunite with this filmmaker, it was never meant to be. Scheduling conflicts prevented him from joining Cruise in "Minority Report." Damon was already on the line to do "Ocean's Eleven" and the filming schedule for that Steven Soderbergh ensemble piece directly conflicted with "Minority Report." With that, "Minority Report" began to look around for someone else to take on the role instead (which eventually went to Colin Farrell).
Minority Report's newfound post-9/11 relevance
"Minority Report" was filmed in the summer of 2001 , and wrapped just a few months before the terrorist attacks of September 11 would forever alter the United States of America. In the wake of such devastating horrors, it was inevitable for people to read new 9/11-relevant layers into pieces of art that were never meant to talk about this historical event. When it came to "Minority Report," even director Steven Spielberg recognized how the project would inevitably come across as something that had extra important and timely relevance to moviegoers due to the state of the world after 9/11.
Speaking to The New Zealand Herald , Spielberg was upfront about how a film like "Minority Report" — which is about policing and privacy — would register with people in the wake of 9/11. He noted that the film mirrored how authorities were rounding up people in real life to get information and prevent future atrocities, saying "I feel that history has caught up with our imagination and given us a cold soak of reality." "Minority Report" would only become even more eerily relevant in the years to come, though, as the PATRIOT Act enhanced the surveillance of the American government on its citizens, while controversy over torture tactics on innocent civilians would make people question the lengths the United States had gone in the name of preventing future terrorist attacks.
The noirs that guided Spielberg's Minority Report vision
In many ways, "Minority Report" was a movie that could only exist in the 21 st century, namely with its digital-effects wizardry and its use of then-fresh-faced talent like Colin Farrell and Samantha Morton. But it's also a feature rooted deeply in one of the great film genres of the 20 th century: noir. Film noir — which literally means "black film" — often focuses on stories of lone protagonists, who must endure in the face of societies gone haywire due to moral corruption. So, it's easy to see why "Minority Report" would fit into the hallmarks of this genre.
But to ensure that "Minority Report" lived up to all of its potential, Spielberg opted to do a crash course in the all-time greats of the noir landscape before he started shooting this Tom Cruise vehicle. Talking to Entertainment Weekly , Spielberg said that he "wanted to give the movie a noir feel," and subsequently threw himself a film festival of classics of the genre: "Asphalt Jungle," "Key Largo," and "The Maltese Falcon" were the movies he turned to while molding his vision for "Minority Report." He also noted that he tried to embrace the darker edges of the genre in order to counter his "sentimental side."
How Spielberg approached technology within Minority Report
Much like our own modern world, the universe that "Minority Report" inhabits is one defined by technology. Not only is futuristic tech used to prevent crimes before they even happen, but virtual ads show up all over the place, while spider robots are used to hunt down lethal criminals. This is a world defined by machines even more than by the men that made them. Because of their importance to the story, Steven Spielberg was very careful about the role technology would play in "Minority Report" and how it would be realized.
According to Entertainment Weekly , Spielberg gathered a group of futurists and asked them to brainstorm about a plausible vision of what life in 2054 could be like. Talking to Roger Ebert , Spielberg elaborated that his goal with "Minority Report" was to make a movie where all the futuristic tech shown on-screen could eventually become a reality. This informed some hopeful details about "Minority Report's" vision of what's to come, including the idea of a transportation system that isn't as harmful to the environment. Simultaneously, he wanted to present an eerie quality to the intrusive nature of futuristic advertising.
Spielberg believed that "in the future, television will be watching us, and customizing itself to what it knows about us." He continued, "The thrilling thing is, that will make us feel we're part of the medium. The scary thing us, we'll lose our right to privacy." This dichotomy gets reflected in various spots in "Minority Report," which both demonstrates how far media and consumer materials have come, and also how nobody has privacy in this society on-screen. This approach to technology informed the urgent darkness of "Minority Report," but also proved prescient (or precognitive, if you will) in how the digital world would evolve in the decades to come.
Spielberg's insistence on practical sets
In the summer of 2002, both George Lucas and Steven Spielberg released new directorial efforts that were costly action blockbusters. Lucas debuted "Star Wars: Attack of the Clones," which heavily utilized digital sets. In contrast, Spielberg's "Minority Report" primarily employed practically realized backgrounds. Even though this mystery takes place in the future, Spielberg still went the route of building elaborate sets that the actors could see and feel as they shot the film. Though they had both come into their own as iconic filmmakers in the 1970s, the summer of 2002 made it clear that Lucas and Spielberg had drastically different aims now in terms of visual sensibilities and approaches.
Talking to Roger Ebert , Spielberg expressed admiration for "Attack of the Clones" and all that Lucas had accomplished with his digital sets. However, Spielberg also said that he was hoping to never get to the point where he was shooting movies that would involve just green screens and CGI sets, in part because physical sets stimulate and inspire the actors.
On "Minority Report," Spielberg was insistent that practical sets be used whenever possible, while even the most seemingly impossible pieces of camerawork — such as the overhead shot of the robotic spiders entering the building where John is hiding — were realized through on-set ingenuity rather than post-production digital wizardry. Spielberg's commitment to old-school production design choices ensured that the world of "Minority Report" reverberated with tangibility and grit.
Samantha Morton's experience working with Spielberg
In reflecting on Steven Spielberg to OC Movie Reviews in January 2022, "Minority Report" actor Samantha Morton, who portrays the precog Agatha, had a startling declaration to make about this filmmaker: He's good at his craft. Referring to him as "an incredible filmmaker," Morton especially appreciates "Schindler's List." This 1993 Oscar-winning film struck Morton as the kind of feature that's brutal to watch, but also important to remind the world of atrocities that "should never happen again."
Morton's admiration for Spielberg goes deeper than just what he accomplishes as an artist, though. She also noted that he is "an absolutely amazing person to work for." Remarking that because she was "quite young" when she did "Minority Report," her experience working with Spielberg established a great threshold and "set the bar very high" for the remainder of her career.
Even better, Morton's fondness for Spielberg only deepened when she did the 2022 film "Save the Cinema," an inspirational drama about a small town trying to save a movie theater. The film is based on a true story about the mayor of the Welsh town Carmarthen sending a letter to Steven Spielberg in 1993, imploring the director to make it possible for "Jurassic Park" to be screened in Carmarthen (via Wales Online ). Amazingly, Spielberg responded and the film premiered in this small town the same day as in London. Realizing what Spielberg had done to help everyday people in real life only emphasized how much Morton adored her former "Minority Report" director.
The distinctive cinematography of Minority Report
Perhaps more distinct than any of the fight scenes or explosions in "Minority Report" is the look of the entire feature. The visual style of "Minority Report" is unique and feels drained of color, which complements the grim atmosphere of the film. Talking to The New York Times , Steven Spielberg noted that he used a process called bleach-bypassing to achieve this effect. Bleach-bypassing is done in post-production, and drains out the color from people's faces. Now instead of having cheeks and skin tone that radiate warmth, everyone in "Minority Report" has pale faces, which helps to accentuate their constantly intense and paranoid demeanors.
Spielberg noted that touches like this brought "to the photo-realism a kind of abstract expressionism," while several sequences were shot on 800 ASA film stock to further ensure an old-school grainy appearance that would make "it feel more like old noir." The end result was that "Minority Report" combined older-looking techniques and styles seen predominately in the 1940s with a modern tale and technology, which truly made it look like no other movie out there. This was especially the case among the big-budget blockbusters made at the dawn of the 21 st -century, which tended towards more modern and digital looks.
The box office run of Minority Report
"Minority Report" arrived in theaters with lots of hype, thanks to its between Tom Cruise and director Steven Spielberg. The melding of these Hollywood titans excited film fans, but there was also some concern wafting in the air around its release. Chiefly, this was an unusual blockbuster in the summer of 2002. This was a season dominated by lighthearted "Star Wars" adventures and the first "Spider-Man" movie (via Box Office Mojo ). These movies were a sharp contrast to the more grounded and darker noir-inspired tale that "Minority Report" was delivering. Spielberg and Cruise were also coming off titles that were widely perceived to be box office missteps ( "A.I." and "Vanilla Sky," respectively), a sign that even immortal legends could stumble financially.
In the end, "Minority Report" did manage to secure $358.8 million worldwide , more than tripling its sizable $102 million budget. This feature also came in ahead of other notable Spielberg titles globally , such as "Indiana Jones and the Temple of Doom" and "Close Encounters of the Third Kind." If there was a complaint to be had here, it's that "Minority Report" did get overshadowed by several other 2002 movies. While it was the 10 th biggest film of the year worldwide , domestically, "Minority Report" was in 17 th place . It even came in behind titles like "Signs" and "xXx," neither of which promised the union of Cruise and Spielberg. While it didn't crush all other 2002 movies, "Minority Report" was still a profitable exercise, reinforcing that Spielberg blockbusters can always draw a mighty crowd.
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39 facts about the movie minority report.
Published: 03 Oct 2023
Released in 2002, “Minority Report” is a science fiction film directed by Steven Spielberg. Set in the year 2054, the movie presents a future where crimes can be prevented before they even happen, thanks to a specialized police unit called PreCrime. Starring Tom Cruise as the protagonist, the film follows the gripping story of John Anderton, a PreCrime officer who finds himself accused of a future murder he has yet to commit.
Minority Report” combines thrilling action sequences, thought-provoking themes, and stunning visual effects to create a captivating cinematic experience. The movie explores complex ethical questions surrounding the nature of free will, the potential dangers of technology, and the reliability of human prediction. With its compelling storyline and strong performances, “Minority Report” has become a beloved film among both science fiction enthusiasts and general moviegoers.
Minority Report is a science fiction film directed by Steven Spielberg and released in It is loosely based on a short story by Philip K. Dick.
Tom Cruise’s Role
Tom Cruise plays the lead role of Chief John Anderton, a PreCrime police officer in a futuristic society where crimes can be prevented before they happen.
The Futuristic Setting
The movie is set in the year 2054, where advanced technology, including prediction software, is used to eliminate crime.
The PreCrime Division
In the movie, the PreCrime division uses a trio of psychic individuals called “precogs” to predict crimes.
The precogs are named Agatha, Arthur, and Dashiell, and they possess the ability to see into the future.
The term “minority report” refers to a prediction by one of the precogs that differs from the other two, suggesting that not all futures are set in stone.
The Moral Dilemma
The film raises ethical questions about the system’s reliance on psychic predictions and whether punishment should be based on crimes that have not yet occurred.
The Director’s Cut
The Director’s Cut version of Minority Report, released in 2002, includes an additional seven minutes of footage and alters the ending.
Minority Report marks the fourth collaboration between director Steven Spielberg and actor Tom Cruise.
Cutting-Edge Visual Effects
The film made use of groundbreaking visual effects, including augmented reality interfaces and seamless futuristic cityscapes.
The score for Minority Report was composed by John Williams, who has worked on several Spielberg films throughout his career.
The movie received positive reviews from critics, praising its visuals and thought-provoking storyline.
Box Office Success
Minority Report was a commercial success, grossing over $350 million worldwide.
The film’s futuristic designs, in terms of fashion, transportation, and architecture, have since influenced other science fiction productions.
A Memorable Chase Scene
One of the most memorable scenes in Minority Report is the vertical chase sequence, where Chief Anderton is pursued by flying police vehicles.
The Spielberg Touch
Steven Spielberg’s signature themes of family, justice, and the power of humanity are present throughout the film.
Minority Report’s Predictions
While the film is set in the future, some of the technologies portrayed in Minority Report, such as gesture-based interfaces and personalized advertising, have become a reality.
The concept of PreCrime and predictive policing in Minority Report has sparked discussions about the limitations and implications of using technology to prevent crimes.
Academy Award Nominations
The film received an Academy Award nomination for Best Sound Editing and Best Visual Effects.
Minority Report delves into philosophical questions about free will and determinism, challenging the audience’s perception of predestination.
The movie features a talented supporting cast, including Colin Farrell, Samantha Morton, and Max von Sydow.
The Realization of Dreams
Steven Spielberg had been trying to adapt Philip K. Dick’s short story into a film since he purchased the rights in
Precognition and Crime Prevention
The film explores the idea of using precognition as a means of preventing crime, presenting a society that sacrifices privacy for increased security.
Tom Cruise’s Dedication
Tom Cruise underwent extensive training for his role, including learning how to perform stunts and fight scenes.
The Mystery Element
Minority Report incorporates elements of a mystery thriller, as Chief Anderton unravels a conspiracy surrounding the PreCrime system.
The Appearance of the Precogs
The precogs are portrayed as fragile individuals who experience the visions of crimes in a trance-like state.
The Minority Report’s Impact
The term “Minority Report” has since become a cultural reference, representing an alternative perspective and questioning the consensus.
An Emotional Journey
The film explores the personal journey of Chief Anderton, who must confront his own beliefs and make difficult choices.
The Technological Innovations
The futuristic gadgets and technologies depicted in the film have become iconic and have influenced the imagination of future technologies.
The Logic of PreCrime
The film challenges the logic of PreCrime by presenting situations where the precogs’ predictions may not always be accurate.
The movie was released with two different endings, allowing viewers to interpret the story and its implications in different ways.
The Adaptation Process
The film adaptation went through several iterations before reaching the final version, with input from various writers and directors.
Themes of Redemption
Minority Report explores themes of redemption and the potential for individuals to change their futures, even in a world driven by predictions.
The PreCrime Controversy
The movie raises questions about the ethics of punishing individuals for crimes they have not yet committed and the potential for abuse of power.
The Brilliance of Philip K. Dick
The film draws upon the visionary ideas of Philip K. Dick, known for his exploration of futuristic concepts and philosophical themes.
The Exploration of Identity
Minority Report delves into questions of personal identity and the impact of societal surveillance on individual freedom.
A Thought-Provoking Ending
The film’s ending challenges the audience to question the nature of reality, free will, and the consequences of a deterministic society.
A Tale of Redemption
Chief Anderton’s character arc in Minority Report follows a path of redemption, as he seeks to uncover the truth and prevent an unjust future.
The Legacy of Minority Report
Minority Report has left a lasting impact on the sci-fi genre, continuing to inspire discussions about future technologies, ethics, and the nature of crime.
Detailed Description of Minority Report
Minority Report takes place in the year 2054, where a specialized police unit called PreCrime uses a trio of psychic individuals called “precogs” to predict and prevent crimes before they occur. The film follows Chief John Anderton, played by Tom Cruise, who leads the PreCrime division. However, when Anderton is predicted to commit a murder in the future, he becomes a fugitive and sets out to prove his innocence.
The movie delves into themes of free will, determinism, and the power of choice. It raises thought-provoking questions about the nature of crime and punishment, challenging the audience to consider the value of privacy and the potential consequences of relying on psychic predictions to prevent crimes. As Anderton delves deeper into the conspiracy surrounding the PreCrime system, he unravels a web of lies and deception, questioning the very foundation of the society in which he lives.
Minority Report showcases Steven Spielberg’s trademark masterful storytelling and visual effects. The film presents a fully realized futuristic world, with advanced technology seamlessly integrated into everyday life. From retina scanners and personalized advertisements to futuristic transportation and gesture-based interfaces, the film’s attention to detail creates an immersive experience for viewers.
The performances in Minority Report are exceptional, with Tom Cruise delivering a compelling portrayal of a conflicted protagonist. Colin Farrell shines as a relentless federal agent assigned to investigate the PreCrime system, while Samantha Morton leaves a lasting impression as the precog Agatha, whose visions hold the key to unraveling the conspiracy. The supporting cast, including Max von Sydow and Peter Stormare, further adds depth to the story.
As the film progresses, the layers of the mystery unfold, leading to a thought-provoking and open-ended conclusion. The audience is left to question the nature of truth, justice, and the extent to which individuals can shape their own destinies in a world dominated by predictions and technology.
With its gripping storyline, stunning visuals, and philosophical themes, Minority Report remains a standout film in the science fiction genre. It continues to captivate audiences and provoke discussions about the implications of technology, the limits of prediction, and the true nature of crime.
In conclusion, “Minority Report” is a gripping and thought-provoking science fiction film that explores themes of crime, morality, and the potential dangers of technology. With its visionary storytelling, stunning visuals, and powerful performances, the movie leaves a lasting impact on its viewers.
The film’s complex plot and intricate narrative keep audiences engaged from start to finish, while its exploration of ethical dilemmas raises important questions about free will, determinism, and the nature of justice.
Overall, “Minority Report” is a must-watch for fans of the genre and anyone interested in exploring the potential consequences of a future governed by advanced technology.
1. Who directed the movie “Minority Report”?
Steven Spielberg directed “Minority Report.”
2. When was “Minority Report” released?
“Minority Report” was released in 2002.
3. Is “Minority Report” based on a book?
Yes, “Minority Report” is based on a short story of the same name written by Philip K. Dick.
4. Who are the main actors in “Minority Report”?
The main actors in “Minority Report” are Tom Cruise, Colin Farrell, and Samantha Morton.
5. What genre does “Minority Report” belong to?
“Minority Report” is a science fiction film that combines elements of thriller and neo-noir genres.
6. What is the premise of “Minority Report”?
The film is set in a future where crimes can be predicted before they occur, and a special police unit called PreCrime apprehends the perpetrators before the crime is committed. When the system predicts that the protagonist, a PreCrime officer, will commit murder, he goes on the run to prove his innocence.
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Tom Cruise's 'Minority Report' has arrived in real life - South Korean police turn to AI to predict crimes and drug tracking
- South Korea
Friday, 03 Nov 2023
Turning to AI to combat crimes
Us, south korea, japan to launch consultative group on north's cyber threats, seoul to launch first spy satellite.
Plans by the South Korean police include the creation of a metaverse police agency. - PHOTO: THE KOREA HERALD/ASIA NEWS NETWORK
SEOUL: In the 2002 movie 'Minority Report', Tom Cruise leads an unit called Precrime, a specialised police department, apprehends criminals by use of AI and foreknowledge provided by three psychics called "precogs".
While it may not be excatly the same, AI may play a big part in preventing crime and that may be soon be seen in South Korea.
The South Korean police has unveiled a four-year blueprint for using artificial intelligence to predict and combat crimes.
They believe the technology can help fill security gaps in the rural areas caused by the high concentration of police personnel in Seoul and the metropolitan area.
The police will also seek to use artificial intelligence to improve their investigative abilities and the technology to combat voice phishing.
The plan includes a program to develop an algorithm that analyses unusual online behaviour patterns to predict stalking and sex crimes.
Also, research is under way to develop technology that uses security cameras to detect abnormal behaviour and whether someone is carrying a weapon.
To better tackle drug trafficking, a real-time map to keep track of drug cases to help trace distribution routes will be built.
Other plans include establishing a police agency metaverse, developing a system to automatically track banned virtual assets, and creating a cyber training institution at the Advanced Public Security Centre.
In addition, officers will be provided with bulletproof clothing and strength-enhancing robotic augmentations to their uniforms.
South Korea has seen an increase in economic and financial crimes, with the number rising from 290,000 in 2015 to 410,000 in 2020.
The number of drug offenders is also up, with the number of people investigated for drug crimes jumping from 12,000 in 2018 to 18,000 in 2020.
In the first half of 2023, a total of 925 cases of murder, bodily harm or assault took place. And 18 of them were classified as serious crimes with abnormal motives, commonly referred to as mudjima or “don’t ask why” attacks – unprovoked and sudden acts of violence targeting strangers.
The plan, which requires approval by the Presidential Advisory Council on Science and Technology, will be finalised by the end of 2023 after consultations with the relevant ministries. THE KOREA HERALD/ASIA NEWS NETWORK
Tags / Keywords: South Korea , Cops , Turn to AI , Prevent AI , Druig Trafficking
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