Minority Report

Minority Report ist ein intelligenter, reichhaltiger und visuell beeindruckender Hit. Das Schema der Handlungszusammenhänge verliert aber leider im letzten Drittel, in dem Schlüsselteil, die nötige Harmonie. Und auch ein rein kommerzielles Spiel, das einerseits aus einer gewöhnlichen Unterhaltung etwas mehr macht, aber andererseits das ausgezeichnete Thema und das Talent von zwei genialen Filmemachern (Steven Spielberg und Janusz Kaminski) 'vergeudet'. Es hätte ein Genre-Juwel sein können, der einmal in zehn Jahren entsteht. (03.10.2002)

It's a very good film, but it won't become a cult classic like Blade Runner. I don't know what Philip K. Dick would say about the sweet happy ending, but you have to expect something like that from the eternal child of Spielberg. Ideal popcorn entertainment to fight off boredom, nothing more than that. (13.04.2003)

Ja! Vergisst man Dicks Ausgangsmaterial, das eine Welt entfernt ist, hat Spielberg einen absolut fesselnden Science-Fiction-Film mit einer möglicherweise visionären Sicht auf eine Zukunft geschaffen, in der unsere Gedanken kontrolliert und wir für die Verbrechen bestraft werden, die wir nicht begangen haben. Die Geschichte lebt nicht von Actionszenen (aber die wenigen Sequenzen sind es wert, besonders der Blitzkrieg :o)), sondern von einer gut aufgebauten Geschichte mit einer überraschenden Pointe. Leider wird die Pointe in Spielberg'scher Manier wieder einige Minuten hinausgezögert, und der Film verliert am Ende den Atem und in gewisser Weise auch den Kopf. Zumindest wird er die Ferse behalten. Also am Ende - der Film und Cruise (fast) ausgezeichnet! (25.01.2004)

A great and smart sci-fi pop-corn flick that should have ended the moment the "tube" was stuck in the ground, because what follows unnecessarily trips up an otherwise flawless experience. (27.06.2007)

[SPOILER, or possibly only an erroneous minority report] ____ The paradox of “Minority Report” consists in the fact that we are so accustomed to kitschy Hollywood endings that they merely amuse or annoy us rather than leading us to question them because of their formulaic and clichéd nature. As the reviews and responses to this film suggest, most people just throw their hands up at the end of Spielberg’s film, expressing that it is simply a typical mainstream flick with the edges smoothed out into total conformist insipidness supported by screenwriting crutches. But what if the smooth denouement and sugar-coated ending is instead meant to offend and provoke us? Perhaps we will start to question the final shot of the idyll with the cottage and the tractor as being blatantly illusory. We might realise that the final twenty minutes of the film have a different colour palette and lighting than the preceding two hours. Particularly obsessive viewers may then look for ten differences in the production design and costumes used in those concluding passages and the depictions of them earlier in the film. Did we seriously think that Spielberg would bring shame onto himself by being the absolute only one to adapt a book by the master of paranoid sci-fi into a form of a dull sop for the supposed majority audience? Unlike with Total Recall, this time we don’t get a literal statement that maybe something is out of place. Here the uncertainty is many times more subtle, because the vehicle for the Dickian twist is the intentionally applied Hollywood tameness, naïveté and formulaicness. After all, we should also be struck by the fact that the naïve ending isn’t conspicuously inconsistent with the bizarreness of many of the preceding passages. But perhaps the presence of these eccentricities alongside the exceptionally smooth genre passages steer us toward further uncertainty. What if the protagonist, and with him the film itself, had not let himself be merely lulled into a dream fulfilled, but had untethered himself from “reality” much earlier and had given preference to the improved comfort of the drugs? In any case, Spielberg made a fantastic and fascinating movie that, perhaps even more than other sci-fi narratives, remains reliant on viewers’ willingness to accept its rules and stop doubting, instead allowing themselves to be carried away by the motifs and ideas that it presents. (13.09.2023)

An excellent sci-fi crime movie that shows that Steven Spielberg is in better form than ever and Tom Cruise likewise. Breathtaking action scenes wrapped up in a story that makes you think about and follow the unraveling story with bated breath. The action scenes are absolutely top-notch. The part where John Anderton is being followed in the car factory is one of the best scenes ever to emerge in this genre. And of course Spielberg’s typical detachedness and gentle irony in places bordering on black humor. The vision of the year 2054 on one hand is captivating and on the other both desolate and terrifying. The gradual loss of freedom, commercials that address passers-by using their names, eye scanners at every step. Minority Report is a masterpiece with an amazing visual side (Kaminski is a genius), great music (Williams), brilliant directing (Spielberg) and excellent acting performances (Cruise, Sydow, Farrell). The only thing that I might fault Minority Report for is the last five minutes when the story fizzles out and slowly crawls toward the credits. 9/10 (20.06.2006)

A dark and visually stunning gem that deserves to be among the best films of 2002. The master shows himself in full form, confirming his reputation as one of the greatest directors of all time. Minority Report is a smart film, relying mainly on an excellent screenplay, which, along with the incredibly detailed production design and great performance by Tom Cruise, makes you forget about occasional slightly sentimental moments that are a regular occurrence for Spielberg. The visual effects are breathtaking, as is Samantha Morton in the role of the precog. The scenes with her are amazing and the veteran Max von Sydow certainly doesn't need to be ashamed of his performance either. Add to that a unique visual style, beautifully tinted camera filters, and thrilling action. Spielberg is still at the top. (25.10.2003)

Steven's first 100 minutes are driven by a lethal deadline, orchestrating an unrelenting manhunt in an elaborate futuristic package; it's simply a blast, with the whole scheme sketched out unfolding beautifully at lightning speed in the thrilling opening sequence. Each of the characters has its necessary significance for orienting and introducing the viewer to the complex fictional world, each scene and chase deliberately moves the plot somewhere (except perhaps for the overly humorous interlude with the jetpacks), and even though the visuals at times just can't pull it off, Spielberg stages everything with amazing internal dynamism and ingenuity. The final part, where family values come to the fore, slows the film down, a key crime is solved, the culprit is revealed, which shouldn’t be surprising to a slightly more experienced viewer, but unfortunately it slightly spoils the otherwise excellent impression. On the one hand, Spielberg's narrative genius and superb handling of hidden plot information are on display, unfolding across the dual finales into a fully-formed puzzle; on the other hand, the overly high ambitions are perhaps evident, preventing an absolute eye-candy experience at the end and stripping the otherwise cohesive script of its formal euphony. But what undoubtedly belongs to the absolute top is, besides the cinematography, the bombastic sound effects, which bring to the ears an orgasm surpassing perhaps even the more recent War of the Worlds... 85% (31.08.2022)

Spielberg, instead of taking a moment to think about the lazy script cobbled together from the most unique ingredients and solutions, hired representatives from technology schools, companies, and organizations to give him an expert opinion on likely technological developments by 2050. The result is a very outlandish vision of the future, with giant talking advertisements, singing cornflakes, and funny spiders that crawl up under people's duvets whenever the cop of the great evil state waves his hand. It makes any 1960s sci-fi forecast look considerably more realistic next to it, whereas this is really just a relic of Cruise’s profile period. But it's a fact that I have to admire Kaminski for taking his penchant for analogue color desaturation to such an extreme in a high-budget sci-fi film that it ends up looking like a movie rip from 2010. (17.01.2022)

One of my favorite movies by Steven Spielberg, which has a brilliant concept as its foundation. The fact that Spielberg turned it into a popcorn entertainment is one thing. However, he still managed to stay true to the main idea and there is always something more than just entertainment. Preventing crimes before they are actually committed is truly an idea that holds a lot of potential. It could possibly be exploited even further than just being mostly an action spectacle, but sometimes that's enough. In this case, it is. (27.01.2014)