“Everybody runs,” John says to his colleagues earlier in the film, moments before leaping (and jet-packing) into fugitive status. Hell, it’s her efforts that put them on a collision course with this seemingly fixed moment in the first place. The seer of the especially terrible future that awaits John seems compelled to save him from it, as John struggles with what’s more important to him: The truth, or a chance to change his fate. She stares with teary, imploring eyes at a past that has brought them to the one moment neither one can evade, but she so desperately wants to. Anderton, standing in the lobby of where his future crime is to take place, minutes before he is supposed to commit it, faces forward as a psychic who traffics in visions of the future holds him back with an embrace while looking behind them. The shot, along with the scene it takes place within, is as beautifully composed as it is narratively essential. In 2002, Roger Ebert devoted a whole sidebar interview with Cruise and Spielberg to it.
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The most iconic single shot from the film, in a movie full of “only-Spielberg-could-pull-this-off” visuals, has been the subject of praise and analysis for 20 years. This frame:Īgatha (Samantha Morton) embraces Anderton at a pivotal moment in the on-the-run cop's fate in 'Minority Report'.
And fans of the genre are a sucker for a future-set thriller where the hero becomes the very victim of the tech he uses or the enemy of the very organization he works for.īut what makes Minority Report as resonate as it is thrilling are the emotional tentpoles that Spielberg and the movie's co-screenwriter Scott Frank ( Queen’s Gambit, Out of Sight) thread all the impressive action through, culminating with the perfect distillation of what the movie is all about - when theme and plot literally collapse into one frame. Minority Report's premise is one of science fiction’s best, especially when its full potential is let loose in a chase sequence where Anderton is on the run with a fragile psychic in tow, Agatha (Samantha Morton), who can predict their dogged pursuers’ next moves before they can make them. But we’re instantly hooked to see how it all plays out, especially when John’s desperate race to find proof exposes the perfect system to be far from it. So from the jump, we have no idea how this “guilty” man will prove his innocence, or if he even can. The system is flawless, the movie - and Anderton himself - tells the audience. It centers on the drug-addicted chief detective of Precrime, John Anderton (Cruise), who struggles to prove himself innocent of a murder he has yet to commit, but that the Precogs he works with predicts he will. Steven Spielberg’s 2002 collaboration with Tom Cruise (his first) is arguably the director’s most underrated film, a Raymond Chandler-esque detective yarn wrapped in big-budget future noir. It’s fitting (and ironic) that Minority Report, a movie that spends most of its riveting run time concerned about the future, has only become more appreciated in hindsight.
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