• Sun
  • Apr 20, 2014
  • Updated: 7:52pm

What the critics say

PUBLISHED : Thursday, 27 June, 2002, 12:00am
UPDATED : Thursday, 27 June, 2002, 12:00am

Minority Report


Based on a short story by futurist Philip K Dick, Steven Spielberg directs Tom Cruise in this sci-fi thriller. Set in the year 2054, Cruise plays a cop who investigates 'pre-crimes', using technology that allows the law to identify future criminals before they actually commit crimes. But the cop finds out he, too, will one day cross to the other side of the law - and he must find a way to stop himself from doing so.


Elvis Mitchell


The New York Times


'Minority Report may be the most adult film Spielberg has made in some time. It's about the bloody blurring of passion and violence: a compassionate noir. After the ripe, damp colours of AI, Spielberg gives Minority Report a cold, silvered tone. The picture looks as if it were shot on chrome, caught on the fleeing bumper of a late 70s car. It's constantly in motion; Spielberg focuses on Cruise's own ambition as if it were a gleaming hood ornament and turns that appetite for success in on itself. It may be one of his best performances yet.'


Todd McCarthy


Variety


'This outstanding 20th Century Fox/DreamWorks co-venture may be a shade too serious and contemplative to completely enchant the thrill-seeking masses, while simultaneously seeming too mainstream-minded and genre-bound to be entirely embraced by highbrows. But the film's success is in line with what American films historically have done best, which is to excitingly tell a strong story with high style and just enough substance.'


Andrew O'Hehir


salon.com


'Minority Report blends the conventions of 1930s film noir with classic modernist science fiction and the more recent dystopian tradition of Bladerunner and The Matrix. If there's nothing especially original about the combination, it's brilliantly executed as pure cinema, both breathtaking and disturbing.'


Roger Ebert


The Chicago Sun-Times


'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?'


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