Minority Report
Written by: Scott Frank and Jon Cohen, based on a Philip K. Dick story
Directed by: Steven Spielberg
Starring: Tom Cruise, Max von Sydow, Lois Smith, Kathryn Morris, Colin Farrell, Samantha Morton
Steven Spielberg’s Minority Report (2002) is a gripping fusion of science fiction, mystery, and action, set in a future that feels eerily plausible. Starring Tom Cruise, Colin Farrell, and Max von Sydow, the film adapts a short story by Philip K. Dick—whose dystopian visions have previously inspired genre-defining works like Blade Runner and Total Recall. What sets Minority Report apart is its rare ability to engage both intellect and adrenaline, delivering a cerebral “race-the-clock” thriller against the backdrop of a futuristic Washington, D.C.
The year is 2054. Thanks to an experimental police unit known as Precrime, the nation’s capital has become virtually homicide-free. Since 2048, when Lamar Burgess (von Sydow) and Dr. Iris Hineman (Lois Smith) discovered that three psychically gifted children—dubbed the Precogs—could foresee murders before they occurred, Precrime has flourished under Burgess’s leadership. With the help of seasoned officers like John Anderton (Cruise), the murder rate has plummeted. Now, Burgess is poised to take Precrime national, touting it as the ultimate solution to America’s escalating violence. With psychic foresight, advanced surveillance, and a dedicated police force, even impulsive crimes can be prevented, victims spared, and perpetrators apprehended before they act. It seems flawless.
But perfection is a dangerous illusion. As Anderton soon learns, Precrime harbors unsettling contradictions. Haunted by the loss of his son Sean, Anderton’s devotion to the system is both professional and deeply personal. That grief has driven him into addiction and estranged him from his wife Lara (Kathryn Morris). Just as Precrime prepares for national rollout, Anderton faces scrutiny from FBI agent Danny Witwer (Farrell)—and a devastating revelation: the Precogs have predicted that Anderton himself will commit a murder in just 36 hours. Suddenly, the hunter becomes the hunted.
Working from a taut screenplay by Scott Frank and Jon Cohen, Spielberg crafts one of his most compelling films in years. His vision of future America is chillingly credible: eye-scanning technology (“eye-dents”) lets retailers like The Gap track purchases and suggest new ones—eerily reminiscent of Amland’s personalized shopping algorithms. Police zip through the skies in air cars and jet packs, and psychic law enforcement saves lives before crimes unfold. Yet beneath the sleek tech and thrilling chases lies a cautionary tale about the perils of unchecked power, the fragility of justice, and the corrosive weight of grief and vengeance.
Still, Spielberg’s enduring themes—hope, love, and redemption—shine through the noir shadows. Like Blade Runner, Minority Report is destined to become a classic of speculative cinema: a film that doesn’t just imagine the future, but interrogates it.
A Certain Point of View, Too 