Hence, Minority Report feels like the first headline you read in the morning newspaper. It’s a good feeling.
Spielberg felt in a rush, to me. Maybe he was following Cruise. It is not the first time one of his films has been a victim of this phenomenon and it won’t be the last if it will be dealt like this. The director Steven Spielberg occasionally does dip into the entertainment pool to expand his filmography. And as always we have left the screen satisfied and amazed at the spectacle that he puts enormous effort into. Those details pay off just like it does here. And while I am satisfied with the product, never for a second it convinced me that this is coming straight from Spielberg’s vision. Don’t get me wrong, there are few details added in the film regarding the futuristic materially rich world and the style and efficiency it comes with. But something doesn’t add up. While the ambition is big, the reasoning felt short to me. For instance, I can understand the incompetence of the film to fully craft a nail biting chase sequence involving jet packs. But what I had issues with are cereal boxes that are animated. Sort of like, from the magical world of JK Rowling. These pictures animate and they endorse themselves perfectly. Just like the film does of Spielberg’s sci-fi workshop. The emotional storage is empty, this time. In that sequence itself, Tom Cruise mourning over his son and the memories that he revisits feels misplaced and poorly choreographed. Yes, it could be argued that he is a stress eater and what not. But it then, doesn’t communicate with us properly like it should have. The film in such ways repeatedly undermines what could have been heavy emotional moments. What we are left with is a highly paced entertaining action packed thriller which keeps changing the priorities and the headlines.