In six years, the Pre-Cogs have never been wrong. John brings these images up on a large glass screen, where he can separate and analyze the pictures to glean clues about the “victims,” the “murderers” and sites of these crimes, thereby preventing them from ever happening. In Pre-Crime headquarters, these “Pre-Cogs,” bathed in biological fluids and drugged into a semi-comatose state, channel horrific visions of the future into a computer. Cruise’s chief John Anderton heads an experimental Pre-Crime unit, which takes advantage of a freak scientific accident that produced three psychic human beings, who can see murders before they occur. The film takes place in Washington a half-century from now. Pain and hysteria stay bottled up within his character, a man who completely buys into a crime-prevention system then finds himself outside that system, battling the very thing that gave him self-worth.Ī complex, intricate screenplay by Scott Frank and Jon Cohen derives from a story by sci-fi master Philip K. While going over the top in that film, here he delivers one of his most controlled and suggestive performances. There is much to absorb here, almost too much for a single viewing, which probably means the kind of repeat business on which box-office bonanzas are built.įor star Tom Cruise, too, the point of reference is his last film, Vanilla Sky, where he also played a man caught in a technological nightmare in which his very identity and destiny get thrown into confusion. Even with something of a happy ending, Minority Report is the most troubling kind of speculative fiction. And he is willing to leave an audience unsettled. Artificial Intelligence, he continues to push into new fictional terrain that is grittier, creepier and edgier than the warm-and-fuzzy science fiction of his early career. Spielberg poses the question in one of his most compelling and entertaining films ever.
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