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Set in Washington D.C. in 2054, where police utilize a psychic technology to arrest and convict murderers before they commit their crime, the film tells the story of an officer from that unit who is himself accused of a future murder.
This masterfully sleek vision of the future from director Steven Spielberg is an awesome mix of skewed science fiction, twisty Hitchcock-style thrills, stunning blue-grey tinged photography and outstanding design.
If less poetic than AI, Minority Report is much more confidently directed, with a firmer sense of its maker's own urge to entertain and stimulate rather than bemuse.
Though his movie wraps challenging ideas and ingenious visual conceits in a futurist film-noir style, it's pretentious, didactic and intentionally but mercilessly bleak.
August 05, 2013
Baltimore Sun
Too much of Minority Report is facile, albeit at a very high level.
For its stunning visuals and standout performances, Minority Report -- or at least the first three-fourths of it -- might just be the best movie so far this year.
Ferociously intense, furiously kinetic, it's expressionist film noir science fiction that, like all good sci-fi, peers into the future to shed light on the present.
[Minority Report] takes themes from Blade Runner, Total Recall and especially the little seen Gary Fleder-directed Impostor and stirs them up into an absorbing thriller.
Even if he belabors the ending and can't resist tempering the darkness with a strained ray of hopefulness, Minority Report is a document that proves Spielberg among the top ranks in a minority of film geniuses.