Minority Report (film)

Minority Report

Theatrical release poster
Directed by Steven Spielberg
Produced by Gerald R. Molen
Bonnie Curtis
Walter F. Parkes
Jan de Bont
Associate producer:
Michael Doven
Written by Scott Frank
Jon Cohen
John August (uncredited)
Philip K. Dick
(short story)
Starring Tom Cruise
Colin Farrell
Samantha Morton
Max von Sydow
Music by John Williams
Cinematography Janusz Kamiński
Editing by Michael Kahn
Studio Amblin Entertainment
Cruise/Wagner Productions
Distributed by DreamWorks
20th Century Fox
Release date(s) June 21, 2002 (2002-06-21)
Running time 145 minutes
Country United States
Language English
Budget $102 million [1]
Gross revenue $358,372,926

Minority Report is a 2002 science fiction neo-noir directed by Steven Spielberg and loosely based on the short story "The Minority Report" by Philip K. Dick. It is set primarily in Washington, D.C. and Northern Virginia in the year 2054, where "Precrime", a specialized police department, apprehends criminals based on foreknowledge provided by three psychics called "precogs". The cast includes Tom Cruise as Precrime officer John Anderton, Colin Farrell as Department of Justice agent Danny Witwer, Samantha Morton as the senior precog Agatha, and Max von Sydow as Anderton's superior Lamar Burgess. The film has a distinctive look, featuring high contrast for dark colors and shadows, resembling film noir.

Minority Report was one of the best reviewed films of 2002,[2] and was nominated for and won several awards.[3] These included an Academy Award nomination for Best Sound Editing, and four Saturn Awards, including Best Science Fiction Film and Best Direction. Produced on an overall budget of $142 million (including $40m for marketing and distribution), the film was also a commercial success, earning over $358 million in worldwide box office returns and selling four million DVDs in its first few months of release.[4][5]

Contents

Plot

In 2054, an experimental Washington, D.C. police force called Precrime has completely neutralized murder in the city. Precrime employs three "precogs", mutated humans with precognition to view murders that occur in the future; the officers of Precrime then analyze and interpret their visions to track down and stop the murder before it happens. John Anderton is chief of the force, working under its director Lamar Burgess, however, he hides the fact that he is addicted to an illegal psychoactive drug called neuroin since the disappearance of his son Sean, which also caused his wife Lara to leave him.

On the eve of the Precrime program being taken to a national level, a Department of Justice representative, Danny Witwer, arrives to investigate the program. The Precrime officers are wary of Witwer, who they believe is trying to turn control of Precrime over to the Department of Justice. During Witwer's visit, the precogs foresee Anderton killing a man named Leo Crow in a few days; Anderton escapes the facility and a subsequent manhunt once the precrime is discovered. Believing himself to be set up by Witwer, who has discovered his addiction, Anderton tracks down Dr. Iris Hineman, the lead researcher for Precrime. She reveals that the precogs do not always agree about the future, and that the differing vision, a "minority report," could show Anderton not committing the murder and thus prove his innocence. Anderton undergoes eye replacement surgery to avoid the iris identification systems throughout the city. He then uses his old eyes to enter Precrime headquarters and abduct Agatha, the precog that Hineman noted always had the minority report.

Using Agatha's future insight to avoid capture, Anderton takes Agatha to a hacker to extract her vision of Leo Crow's murder, but finds it is the same as the original report. However, Agatha provides Anderton with her vision of the death of a woman named Anne Lively, which Anderton records. Chased by Precrime, Anderton and Agatha end up at the apartment where Crow is to die; they find his room, covered with hundreds of pictures of children including Sean. When Crow enters, Anderton holds him at gunpoint, but at Agatha's pleading decides to arrest him instead, invalidating the prediction. Crow admits that he is only here to be killed by Anderton to have his family paid off handsomely and he didn't have any involvement with Sean. Anderton refuses to kill Crow and demands to know who set this up, but Crow forces himself on Anderton's gun and makes him pull the trigger. Anderton and Agatha flee to Lara's home, while Witwer and Precrime investigate the crime scene.

Witwer doubts Anderton killed in cold blood, and his investigation leads him to discover the Anne Lively murder. He approaches Burgess to reveal that the Ann Lively precog vision differs slightly from the one that Anderton had downloaded from Agatha. Witwer proposes these two visions represent separate murders; because precogs sometimes experience relapses of past murders, or "echoes," Witwer explains someone could get away with murder by hiring someone to try and kill Lively, and allowing the crime to be prevented by Precrime. Having viewed the precog vision beforehand, the murderer would then kill Lively in the exact same way as depicted in the precog vision, fooling Precrime into thinking they were viewing an echo and not a separate murder. Witwer intuits that the murderer would have to be someone high up in Precrime to have viewed the precog vision and then erase it from the Precrime archives. Burgess then kills Witwer, noting that without Agatha, the precog hive mind couldn't predict this murder. He then frames Anderton for the murder, knowing that he would have ample motive for killing Witwer.

After being taken in by Lara, Anderton comes to realize that Anne Lively is Agatha's mother, and the knowledge of her death is the reason for the manhunt against him, and shares this with Lara. Precrime arrives at Lara's home and Anderton is taken into custody, while Agatha is put back into the system. Burgess, preparing for a celebratory dinner for the Precrime program, consoles Lara, but accidentally reveals more about Lively's murder than he should know. Lara forces the release of Anderton from prison. During the dinner, Anderton calls Burgess while Agatha's vision of Lively's death is played for the guests. The footage clearly shows Burgess as the murderer, having set up a false target just as Witwer had predicted. Burgess had killed Lively to stop her from attempting to take her daughter Agatha back. Burgess then had Anderton set up when he knew too much.

As Burgess finds and draws a gun on Anderton, Precrime receives reports that Burgess will kill Anderton. Anderton notes to Burgess the dilemma he is in: either he can kill Anderton, thus demonstrating Precrime works but becoming a murderer himself, or he can spare him, showing Precrime as a failure. Anderton reveals the fundamental flaw of the system: if one knows his or her own future, he or she can change it. Burgess decides to commit suicide and kills himself as Precrime arrive at the scene. As a result, the Precrime division is shut down, with all those incarcerated by them released. Anderton later reunites with Lara (shown pregnant with their second child), while the three precogs are allowed to live out their normal lives, far out on a remote island, where they can no longer be troubled by future visions.

Cast and characters

Production

Development

The original story by Philip K. Dick had previously been adapted as a potential sequel to the 1990 film Total Recall by writers Ronald Shusett and Gary Goldman (later joined by Robert Goethals). They changed the setting to Mars with the precogs being people mutated by their Martian habitat's dome not sufficiently filtering the radiation from space, as established in the first film. The main character was also changed to Douglas Quaid, Arnold Schwarzenegger's character.[6] The project eventually fell through, but the writers, who still owned the rights to the original story, rewrote the script, removing the elements taken from Total Recall. This script was discarded in 1997, when writer Jon Cohen was hired to start the project over from the beginning.[6]

Spielberg, Cruise, and Samantha Morton on the set of Minority Report.

In 1998, Steven Spielberg and Tom Cruise joined Minority Report and announced the production as a joint venture of Spielberg's DreamWorks and Amblin Entertainment, 20th Century Fox, Cruise's Cruise-Wagner Productions and Jan de Bont's production company, Blue Tulip.[7] Spielberg however stated that despite being credited, De Bont never became involved with the film.[8] Production was delayed for several years; the original plan was to begin filming after Cruise's Mission: Impossible II was finished.[7] However, that film ran over schedule, which also allowed screenwriter Scott Frank to rework Cohen's script.[9] John August did an uncredited draft for polishing,[10] and Frank Darabont was also invited to rewrite, but was by then busy with The Majestic.[11] The film was next delayed so Spielberg could finish A.I. after the death of his friend Stanley Kubrick.[12] When Spielberg originally signed on to direct, he planned to have an entirely different supporting cast. He originally offered the role of Witwer to Matt Damon, Iris Hineman to Meryl Streep, Burgess to Ian McKellen, Agatha to Cate Blanchett, and Lara to Jenna Elfman.[13] However, owing to the delays, all the roles other than Cruise had to be recast.

In 1999, Spielberg invited fifteen experts convened by Global Business Network and its chairman, Peter Schwartz (and the demographer and journalist Joel Garreau),[14] to a hotel in Santa Monica, California to brainstorm and flesh out details of a possible "future reality" for the year 2054. The experts included Stewart Brand, Peter Calthorpe, Douglas Coupland, Neil Gershenfeld, biomedical researcher Shaun Jones, Jaron Lanier, and former MIT architecture dean William J. Mitchell.[15] While the discussions did not change key elements needed for the film's action sequences, they were influential in introducing some of the more utopian aspects of the film, though John Underkoffler, the science and technology advisor for the film, described the film as "much grayer and more ambiguous" than what was envisioned in 1999.[16]

John Underkoffler, the science and technology advisor for the film, demos a real life version of the Minority Report interface at TED in 2010. Note the gloves.

Some of the technologies depicted in the film were later developed in the real world – for example, multi-touch interfaces are similar to the glove-controlled interface used by Anderton.[17][18] Conversely, while arguing against the lack of physical contact in touch screen phones, PC Magazine's Sascha Segan argued in February 2009, "This is one of the reasons why we don't yet have the famous Minority Report information interface. In that movie, Tom Cruise donned special gloves to interact with an awesome PC interface where you literally grab windows and toss them around the screen. But that interface is impractical without the proper feedback—without actually being able to feel where the edges of the windows are."[19] However, in 2009, Intel showcased at CES 2009 a touch-screen display akin to Minority Report, using laser-etched holograms driven by a real-time 3D engine[20].

Filming

Filming took place between March 22 and July 18, 2001,[13] in Washington, D.C., Virginia, and Los Angeles.[21] Film locations included the Ronald Reagan Building (as Precrime headquarters) and Georgetown.[21] The skyline of Rosslyn, Virginia is visible when Anderton flies across the Potomac River.[22]

Spielberg decided that to be more credible, the setting had to keep both elements of the present and what the specialists imagined for the future. Thus Washington, D.C. as depicted in Minority Report keeps well-known buildings such as the Capitol and the Washington Monument, as well as a section of modern buildings on the other side of the Potomac River. Production designer Alex McDowell was hired for his work in Fight Club, and storyboards for a film version of Fahrenheit 451 which would star Mel Gibson. McDowell studied modern architecture, and created sets with many curves and reflective materials. Costume designer Deborah L. Scott decided to make the clothes worn by the characters as simple as possible, so as not to make the depiction of the future seem dated.[23] While the scientists and McDowell did not originally think of the jetpacks worn by the policemen, which they considered less than realistic, Spielberg decided to add them as a tribute to old science-fiction serials such as Commando Cody.[23] Product placement was used, mostly to depict the lack of privacy and excessive publicity in the future society.[24] Nokia designed the phones used by the characters, and Lexus paid the producers $5 million to design the futuristic cars.[25]

The stunt crew was the same one used in Cruise's Mission: Impossible II, and was responsible for complex action scenes. These included the chase in a car factory, which was filmed in a real facility using props such as a welding robot, and the fight between Anderton and the jetpack-wearing officers, for which an alley set was built in the Warner Bros. studio lot, with the actors suspended by cables.[26] Industrial Light & Magic did most of the special effects, with DreamWorks-owned PDI being responsible for the Spyder robots. The company Pixel Liberation Front did previsualization animatics. The holographic projections and the prison facility were developed by filming actors with different cameras that surrounded them, and the scene where Anderton gets off his car and runs along the Maglev vehicles was filmed with stationary props, later replaced with computer-generated vehicles.[27]

Storyline differences

Many aspects of the original Philip K. Dick story were adapted in its transition to film, such as the addition of Lamar Burgess and the change in setting from New York City to Washington, D.C., Baltimore, and Northern Virginia. The character of John Anderton was changed from a balding and out-of-shape old man to an athletic officer in his 40s to fit its portrayer and the film's action scenes.[28] The precogs were retarded and deformed individuals in the story, but the offspring of drug addicts in the film. Anderton's future murder and the reasons for the conspiracy were changed from a general who wants to discredit Precrime in order to get more military financing back, to a man who murdered a precog's mother in order to preserve Precrime, with the subsequent murders and plot developing from this. Other aspects were updated to include current technology. For instance in the story, Anderton uses a punch card machine to interpret the precogs' visions; in the movie, he uses a virtual reality interface.[29]

Music

The score was composed and conducted by John Williams and orchestrated by John Neufeld, with vocals by Deborah Dietrich. The soundtrack takes much inspiration from Bernard Hermann's work. Franz Schubert's Symphony No. 8 (commonly known as the Unfinished Symphony) features prominently in the film.[30] Williams decided not to focus on the science fiction elements, and made a score suitable for film noir, with elements such as a female singer in the Anne Lively scenes. But the "sentimental scenes", which Williams considered something unusual for that genre, led to soothing themes for Anderton's ex-wife Lara and son Sean.[23]

Themes

"We don't choose the things we believe in; they choose us."

Lamar Burgess

The main themes of Minority Report are the classic philosophical questions surrounding foreknowledge and free will vs. determinism.[31][32] One of the main questions the film raises is whether the future is set or whether free will can alter the future.[33][34] As critic C.A. Wolski commented, "At the outset, Minority Report... promises to mine some deep subject matter, to do with: do we possess free will or are we predestined to our fate?"[31] However, there is also the added question of whether the precogs' visions are correct.[33] As reviewer James Berardinelli asked, "is the Precogs' vision accurate, or has it in some way been tampered with? Perhaps Anderton isn't actually going to kill, but has been set up by a clever and knowledgeable criminal who wants him out of the way."[33] The precog Agatha also states that since Anderton knows his future, he can change it. However, the film also indicates that Anderton's knowledge of the future may actually be the factor that causes Leo Crow's death. Berardinelli describes this as the main paradox regarding free will vs. determinism in the film,[33] "[h]ere's the biggest one of all: Is it possible that the act of accusing someone of a murder could begin a chain of events that leads to the slaying. In Anderton's situation, he runs because he is accused. The only reason he ends up in circumstances where he might be forced to kill is because he is a hunted man. Take away the accusation, and there would be no question of him committing a criminal act. The prediction drives the act – a self-fulfilling prophecy. You can see the vicious circle, and it's delicious (if a little maddening) to ponder."[33] Ironically, this paradox of choice also presents a personal paradox, as if Anderton chooses not to kill Crow, pre-crime is thrown into doubt, but if he chooses to kill Crow, he proves that the system works, but at the cost of his own life. Spielberg also mentioned that the lack of free will mentioned in the movie had some real world background, saying that "We’re giving up some of our freedom so that the government can protect us."[35] Most critics gave this element of the film positive reviews,[36] with many ranking it as the main strength of the film.[32][33][37] Other reviewers however, felt that Spielberg did not adequately deal with the issues that he raised.[31][38]

Style

Minority Report's unique visual style: It was overlit, and the negatives were bleach-bypassed in post-production to desaturate the colors in the film.

Minority Report is a futuristic film which portrays elements of a both dystopian and utopian future. It renders a much more detailed view of a near-term future world than that present in the original short story, with depictions of a number of technologies related to the film's themes.[39] The scene in which Anderton is dreaming about his son's kidnapping at the pool is shot in "normal" color.

From a stylistic standpoint, Minority Report resembles Spielberg's previous film A.I.[28] The picture was deliberately overlit, and the negative was bleach-bypassed during post-production.[40] This gave the film a distinctive look, with colors desaturated, yet the blacks and shadows have a high contrast, looking almost like a film noir picture.[40] Elvis Mitchell, formerly of The New York Times, commented that "[t]he picture looks as if it were shot on chrome, caught on the fleeing bumper of a late '70s car."[41] A similar treatment was again used for Spielberg and cinematographer Janusz Kamiński's later collaboration, War of the Worlds.

Technology

The film featured a number of representations of near-future technology, many of which spoke to issues on the social implications of these technologies. Included were:

Subversive ending

A common criticism of the film was its ending, concluding with a more traditional "happy ending" inconsistent with the tone of the rest of the film. Some have speculated that this ending is, in fact, the product of John's imagination, caused by the hallucinations from his forced coma after he is incarcerated. As one observer mused, "The conclusion of Minority Report strikes me as a joke Spielberg played on his detractors — an act of perfectly measured deviltry."[43] Others disagree, with one critic claiming that "...While this film is certainly a classic from Spielberg’s vast canon of work, what keeps this film from being a five-reel affair is its “happy” ending; something, besides Munich, Spielberg continues to epically disappoint with."[44]

Though unconfirmed by Spielberg, another recent change to subsequent prints adds weight to the theory. When originally released in 2002, with Precrime dismantled and the Precogs allowed to live in peace, a final epilogue declared that, with the end of Precrime, murders had returned to Washington D.C. In subsequent releases, this tag has been removed -- erasing the sole negative consequence to John's choices. For some, this solidifies the idea of a "perfect," dream-like ending -- and ultimately a false one. As one critic theorized, "...Rather than end this Brazil-ian sci-fi dystopia with the equivalent of that film's shot of its lobotomized hero, which puts the lie to the immediately previous scene of his imagined liberation, Spielberg tries to pass off the exact same ending but without the rimshot, just to see if the audience is paying attention."[45]

Reception

Minority Report debuted at first place in the U.S. box office, collecting $35.677 million in its opening weekend,[46] and a total of $132 million in the United States and $226.3 million overseas.[4] It was also successful in the home video market, selling at least four million copies in its first few months of release on DVD.[5] The film's reviews were generally highly positive. Review tallying website Rotten Tomatoes called it "an intelligent and visually imaginative film that ranks among Spielberg's best"[36] and gave it a score of 92%,[36] while it earned an 80 out of a possible 100 on Metacritic.[47] Roger Ebert gave the film four stars, and described it in his review as "...a triumph--a film that works on our minds and our emotions."[37] Richard Corliss of Time described the film as "Spielberg's sharpest, brawniest, most bustling entertainment since Raiders of the Lost Ark".[48] Mike Clark of USA Today said the film had a "breathless 140-minute pace with a no-flab script packed with all kinds of surprises",[49] Lisa Schwarzbaum of Entertainment Weekly praised the film's visuals,[50] and Todd McCarthy of Variety complimented the cast's performances.[51]

Andrew Sarris of The New York Observer gave the film a negative review in which he described the script as full of plot holes, the car chases as silly, and criticized the mixture of futuristic environments with "defiantly retro costuming".[52] The complexity of the storyline was also a source of criticism, with Peter Travers of Rolling Stone magazine feeling that "the script raises moral questions it doesn't probe",[38] and Kenneth Turan of the Los Angeles Times considering the plot "too intricate and difficult to follow".[53] Rick Groen of The Globe and Mail criticized Tom Cruise's performance,[54] and J. Hoberman of The Village Voice described the film as "miscast, misguided, and often nonsensical".[55]

The film earned nominations for many awards, including Best Sound Editing in the Academy Awards and Best Visual Effects in the BAFTAs. Among the awards won were four Saturn Awards (Best Science Fiction Film, Best Direction, Best Screenplay and Supporting Actress for Samantha Morton), the BMI Film Music Award, the Online Film Critics Society for Supporting Actress and the Empire Awards for Actor, Director and British Actress.[3] Roger Ebert listed Minority Report as the best film of 2002,[56] as did online film reviewer James Berardinelli.[57] The film was also included in top ten lists by critic Richard Roeper,[56] and both reviewers at USA Today.[58] Michael Phillips placed Minority Report at number 10 on his list of Best Films of the Decade.[59]

The film was released on a two-disc Blu-Ray on May 16th, 2010. The Blu-Ray edition included some new extras and interactive features, including an interview with Steven Spielberg, that were not included in the DVD edition.

See also

References

  1. ↑ The NUmbers - Minority Report data
  2. ↑ "Best of 2002". rottentomatoes.com. http://www.rottentomatoes.com/top/bestofrt_year.php?year=2002. Retrieved 2007-02-12. 
  3. ↑ 3.0 3.1 "Minority Report nominations and awards". Internet Movie Database. http://www.imdb.com/title/tt0181689/awards. 
  4. ↑ 4.0 4.1 "Minority Report box office reports". Box Office Mojo. http://www.boxofficemojo.com/movies/?id=minorityreport.htm. 
  5. ↑ 5.0 5.1 "Home Video (DVD & VHS) Out Sells Feature Films, Video Games and Movies in 2002". audiorevolution.com. http://www.audiorevolution.com/news/0103/17.dvd.shtml. Retrieved 2007-02-17. 
  6. ↑ 6.0 6.1 Koornick, Jason (July 2002). "The Minority Report on ‘Minority Report’: A Conversation with Gary Goldman". philipkdickfans.com. http://www.philipkdickfans.com/interviews/goldman.htm. Retrieved 2007-03-15. 
  7. ↑ 7.0 7.1 Hindes, Andrew; Petrikin, Chris (1998-12-11). "D'Works, Fox do Spielberg-Cruise 'Report'". Variety. http://www.variety.com/article/VR1117489352.html?categoryid=13&cs=1. Retrieved 2007-03-24. 
  8. ↑ Hiscock, John (2002-10-06). "Spielberg: why I went back to college". The Daily Telegraph (London). http://www.telegraph.co.uk/culture/film/3579578/Spielberg-why-I-went-back-to-college.html. Retrieved 2009-03-09. 
  9. ↑ "Chat with Scott Frank". Screenwriters Utopia. 2001-12-06. http://www.screenwritersutopia.com/modules.php?name=Content&pa=showpage&pid=15. Retrieved 2007-03-26. 
  10. ↑ Cieply, Michael (2002-07-29). "MEDIA; Triumph of the Producing Class". The New York Times. http://www.nytimes.com/2002/07/29/business/media-triumph-of-the-producing-class.html. Retrieved 2009-04-10. 
  11. ↑ Allan Smith, Christopher (2002-06-10). "Darabont on INDY 4 scripting, MINORITY REPORT flap". Cinescape. http://www.mania.com/darabont-indy-4-scripting-minority-report-flap_article_34947.html. Retrieved 2009-03-09. 
  12. ↑ "Spielberg to wrap Kubrick project". BBC. 2000-03-15. http://news.bbc.co.uk/2/hi/entertainment/678278.stm. Retrieved 2007-03-24. 
  13. ↑ 13.0 13.1 "Greg's Preview: Minority Report (2002)". Yahoo! Movies. Archived from the original on 2007-01-11. http://web.archive.org/web/20070111234515/http://movies.yahoo.com/movie/preview/1808405153. Retrieved 2009-02-13. 
  14. ↑ Garreau, Joel (2002-06-21). "Washington As Seen in Hollywood's Crystal Ball". Washington Post. http://www.washingtonpost.com/ac2/wp-dyn?pagename=article&node=&contentId=A20469-2002Jun20. Retrieved 2007-02-21. 
  15. ↑ Kennedy, Lisa (June 2002). Spielberg in the Twilight Zone. Wired. http://www.wired.com/wired/archive/10.06/spielberg.html. Retrieved 2007-02-12. 
  16. ↑ Clarke, Darren J. (2002-06-17). "MIT grad directs Spielberg in the science of moviemaking". mit.edu. http://web.mit.edu/newsoffice/2002/underkoffler-0717.html. Retrieved 2007-02-12. 
  17. ↑ "Obscura demonstrates Minority Report display". PC Pro. 2008-08-05. http://www.pcpro.co.uk/news/216582/obscura-demonstrates-minority-report-display.html. Retrieved 2009-02-26. 
  18. ↑ "MIT's 6th Sense device could trump Apple's multitouch". CNET. 2009-02-09. http://news.cnet.com/8301-17938_105-10159601-1.html. Retrieved 2009-02-26. 
  19. ↑ Segan, Sascha (2009-02-01). "Why I Hate Touch Screens". PC Magazine. http://www.pcmag.com/article2/0,2817,2337575,00.asp. Retrieved 2009-04-06. 
  20. ↑ http://www.youtube.com/watch?v=73CGOjkwKdQ&feature=fvw
  21. ↑ 21.0 21.1 Minority Report film locations
  22. ↑ (NTSC) Minority Report. [Blu-Ray]. 
  23. ↑ 23.0 23.1 23.2 "Deconstructing Minority Report", Minority Report Special Edition DVD, Disc 2
  24. ↑ Walker, Rob (2002-06-24). "The Ad-Friendly World of Minority Report". Slate. http://www.slate.com/?id=2067293. Retrieved 2009-04-10. 
  25. ↑ Grover, Ron (2002-06-17). "Hollywood Product Placement, Circa 2054". Business Week. http://www.businessweek.com/bwdaily/dnflash/jun2002/nf20020617_8135.htm. Retrieved 2009-03-09. 
  26. ↑ "The Stunts of Minority Report", Minority Report Special Edition DVD, Disc 2
  27. ↑ "IL&M and Minority Report", Minority Report Special Edition DVD, Disc 2
  28. ↑ 28.0 28.1 "Minority Report". thedailypage.com. May 31, 2002. http://www.thedailypage.com/isthmus/article.php?article=3844. Retrieved 2007-05-21. 
  29. ↑ "Future shock: Steven Spielberg's Minority Report is in. Find out how it will make you a better person. - movie review". Film Comment. July-August 2002. http://findarticles.com/p/articles/mi_m1069/is_4_38/ai_91140241. Retrieved 2007-05-21. 
  30. ↑ "Minority Report soundtrack review". Filmtracks.net. http://www.filmtracks.com/titles/minority_report.html. Retrieved 2007-03-24. 
  31. ↑ 31.0 31.1 31.2 Wolski, C.A. (2002-06-21). "Minority Report box office reports". Box Office Mojo. http://www.boxofficemojo.com/movies/?id=minorityreport.htm. Retrieved 2007-03-25. 
  32. ↑ 32.0 32.1 Ratskiwatski, Ignatz. "Minority Report". iofilm.co.uk. http://www.iofilm.co.uk/fm/m/minority_report_2002_r2.shtml. Retrieved 2007-03-25. 
  33. ↑ 33.0 33.1 33.2 33.3 33.4 33.5 Berardinelli, James. "Minority Report". reelviews.net. http://www.reelviews.net/movies/m/minority_report.html. Retrieved 2007-03-25. 
  34. ↑ Akman, Kubilay (2010). "The 'Temple' of Reversed Mystery / Hyper-Criminological and Biopolitical Dimensions in 'Minority Report'". Identities:Journal for Politics, Gender and Culture. http://www.identities.org.mk/eng/index.asp?id=274. Retrieved 2010-01-18. 
  35. ↑ Powers, John (2002-06-27). "Majority Report". LA Weekly. http://www.laweekly.com/2002-06-27/columns/majority-report/2. Retrieved 2009-03-05. 
  36. ↑ 36.0 36.1 36.2 "Minority Report reviews". rottentomatoes.com. http://www.rottentomatoes.com/m/minority_report/. Retrieved 2007-03-11. 
  37. ↑ 37.0 37.1 Ebert, Roger (2002-06-21). "Minority Report review". Chicago Sun-Times. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20020621/REVIEWS/206210304/1023. Retrieved 2007-02-12. 
  38. ↑ 38.0 38.1 Travers, Peter (2002-06-18). "Minority Report review". Rolling Stone. http://www.rollingstone.com/reviews/movie/5947679/review/5947680/minority_report. Retrieved 2007-03-12. 
  39. ↑ "Minority Report: From Story to Screen"; Minority Report Special Edition DVD, Disc 2
  40. ↑ 40.0 40.1 Jocobson, Colen (2002-12-11). "Minority Report review". dvdmg.com. http://www.dvdmg.com/minorityreport.shtml. Retrieved 2007-03-12. 
  41. ↑ Mitchell, Elvis (2002-06-21). "Halting Crime In Advance Has Its Perils". The New York Times. http://movies2.nytimes.com/mem/movies/review.html?res=9E02EEDA113BF932A15755C0A9649C8B63. Retrieved 2007-03-12. 
  42. ↑ "The Minority Report Interface". http://www.lukew.com/ff/entry.asp?104. 
  43. ↑ http://www.flakmag.com/film/spielberg/minority.html
  44. ↑ http://www.franksreelreviews.com/reviews/2010/minorityreportbd.htm
  45. ↑ http://www.flakmag.com/film/spielberg/minority.html
  46. ↑ "Weekend Box Office, June 21–23, 2002". Box Office Mojo. http://www.boxofficemojo.com/weekend/chart/?yr=2002&wknd=25&p=.htm. Retrieved 2007-03-24. 
  47. ↑ "Minority Report entry". Metacritic.com. http://www.metacritic.com/video/titles/minorityreport. Retrieved 2007-03-14. 
  48. ↑ Corliss, Richard (2002-06-23). "No artificial intelligence; just smart fun". Time. http://www.time.com/time/europe/magazine/2002/0701/cruise/review.html. Retrieved 2009-03-05. 
  49. ↑ Clark, Mike (2002-06-23). "The verdict is in: 'Minority' rules". USA Today. http://www.usatoday.com/life/movies/2002/2002-06-21-minority-review.htm. Retrieved 2009-03-09. 
  50. ↑ Schwarzbaum, Lisa (2002-06-28). "Movie Review: Minority Report (2002)". Entertainment Weekly. http://www.ew.com/ew/article/0,,264477,00.html. Retrieved 2009-03-05. 
  51. ↑ McCarthy, Todd (2002-06-16). "Minority Report". Variety. http://www.variety.com/review/VE1117917989.html?categoryid=31&cs=1. Retrieved 2009-03-09. 
  52. ↑ Sarris, Andrew (2002-07-14). "Minority Report Sinks Too Low". The New York Observer. http://www.observer.com/node/46234. Retrieved 2009-03-09. 
  53. ↑ Turan, Kenneth (2002-06-21). "A Walk in the Dark". Los Angeles Times. http://www.calendarlive.com/movies/reviews/cl-movie000043326jun21,0,4279333.story. Retrieved 2007-03-25. 
  54. ↑ Groen, Rick (2002-06-21). "Is Steven Spielberg afraid of the dark?". The Globe and Mail. http://www.theglobeandmail.com/servlet/ArticleNews/movie/MOVIEREVIEWS/20020621/RVMINO. Retrieved 2009-03-09. 
  55. ↑ Hoberman, Jim (2002-06-25). "Private Eyes". Village Voice. http://www.villagevoice.com/2002-06-25/film/private-eyes/1. Retrieved 2009-03-05. 
  56. ↑ 56.0 56.1 "Roger Ebert and Richard Roeper Announce Their Top Ten Movies of the Year". Business Wire. 2002-12-30. http://findarticles.com/p/articles/mi_m0EIN/is_2002_Dec_30/ai_95904385. Retrieved 2009-03-05. 
  57. ↑ Berardinelli, James (2002-12-31). "Rewinding 2002 -- The Year in Film". Reelviews.net. http://www.reelviews.net/comment/123102.html. Retrieved 2009-03-05. 
  58. ↑ "2002 Film Critic Top Ten Lists". Metacritic. http://www.metacritic.com/film/awards/2002/toptens.shtml. Retrieved 2009-03-05. 
  59. ↑ Phillips, Michael. "At the Movies". At the Movies. http://bventertainment.go.com/tv/buenavista/atm/specials/bestofthedecade/. Retrieved 2009-11-02. 

External links

Awards and achievements
Preceded by
A.I. Artificial Intelligence		 Saturn Award for Best Science Fiction Film
2002		 Succeeded by
X2
Films based on works by Philip K. Dick
1980s
1990s
Total Recall (1990) · Confessions d'un Barjo (1992) · Screamers (1995)
2000s
Impostor (2002) · Minority Report (2002) · Paycheck (2003) · A Scanner Darkly (2006) · Next (2007) · Screamers: The Hunting (2009)
2010s
Radio Free Albemuth (TBA) · The Adjustment Bureau (2011) · King of the Elves (2012)