Stars:
Tom Cruise, Colin Farrell, Samantha Morton, and Max Von Sydow
Writers:
Scott Frank and Jon Cohen
Based
Upon The Short Story By: Philip K. Dick
Director:
Steven Spielberg
Feature
length: 2 hours and 26 minutes
Extras:
Minority Report From Story To Screen, Deconstructing Minority Report, The Stunts
Of Minority Report, The Digital World Of Minority Report, Minority Report
Archives, Final Report
Languages:
English DTS Digital 5.1 Theatrical Surround Sound, Dolby Digital 5.1 Surround
Sound, and Dolby Surround Sound and French Language Dolby Digital 5.1 Surround
Sound
Subtitles:
English Captions and French and Spanish Language Subtitles
Packaging:
Two-Disc Keep Case
Chapter
Stops: 24
Sound:
DTS Digital 5.1 Theatrical Surround Sound, Dolby Digital 5.1 Surround Sound, and
Dolby Surround Sound
Year
of Theatrical Release: 2002/DVD Release: 2002
Theatrical
Distributor: DreamWorks Pictures and Twentieth Century Fox
Home
Video Distributor: DreamWorks Home Entertainment
MPAA
Rating: PG-13
Reviewer:
Mark A. Rivera
When
I first read about Steven Spielberg directing “Minority Report” I was
surprised thought it would be interesting to see how Spielberg would handle the
subject matter because the work of Philip K. Dick tends to be very dark and
paranoid in tone as it ponders the universal question of what defines a human
being. You can find this in every film adaptation of a book or short story
written by Philip K. Dick whether it is “Blade Runner” and “Total
Recall,” which while cosmetically different deal with the same issue regarding
how we are defined by our memories or “Screamers” and “Impostor,” which
go farther into asking us what makes us human? Is it in part our ability to
commit violence and is that human nature or a learned behavior? There was even a
Showtime TV series entitled “Total Recall 2070” that seemed to be inspired
more by “Blade Runner” than “Total Recall.” Dimension Home Entertainment
released the series pilot “Machine Dreams” on DVD in America while the
entire series was released on DVD abroad in Japan.
Not
counting the TV series, we now have a fifth live action adaptation of a story by
Philip K. Dick and here the essential question is about the theory of
predetermination vs. freewill. The film touches upon it though it wisely leaves
the answer for the viewer to determine. Tom
Cruise is the head of an experimental branch of the Washington DC police force
circa 2054. The pre-crime division has successfully kept the nation’s capital
nearly murder free with the exception of suicides. The “Pre-Cogs,” three
gifted seers held in a meditative state and in seclusion from the outside world,
can foresee a homicide sometimes days before it takes place. Once the vision has
been witnessed, noted, and authorized to be genuine, the location is mapped out
and the pre-perpetrator is apprehended and arrested before the crime takes
place. The prisoner is then “Haloed” and place in a coma like state within
the Department of Containment for an undetermined length of time.
Despite
the success the program has had over the years, it is still quite controversial
and with the question of a nationwide launch to go into effect, a Federal
Investigator “Colin Farrell” has been sent to ascertain the nature of the
project before delivering a recommendation to his superiors. When the
possibility of a false pre-crime arrest occurs, the validity of the program and
the infallibility of the “Pre-Cogs” are called into question. After a brief
investigation, Cruise’s character is identified by the “Pre-Cogs” as a
future murderer and thus must fight the system he has been a part of while
searching for the only possible evidence that could vindicate him, the enigmatic
and secret “Minority Report.”
As
a film, this is among the best adaptations of a Philip K. Dick story to have
ever been produced and like “A. I. Artificial Intelligence” before it,
Steven Spielberg creates a believable world of the future that mixes elements of
past with the future to create an interesting environment that is both familiar
and different at the same time. Here we are dealing with a date, time, and place
that are closer to our own world than the undetermined future time of “A. I.
Artificial Intelligence.” So as James Cameron had expressed several years ago
when he produced “Strange Days,” the near future can be harder to create
than a far off future because the elements can only be so different given the
timeframe of the story. If the gadgets are too futuristic, the audience will
loose its suspension of disbelief. A clear example of this can be seen in
“Impostor” where the domed city looks more like something out of “Star
Wars” or “Foundation” than an Earth we can imagine in less than a century
from now.
It
all depends on the technology and how good of a reason the writer can create for
the world of the future to exist in the selected or undetermined time frame.
Like any other genre, rules are established and then adhered to so while it is
unlikely that the majority of extraterrestrial life in the galaxy is humanoid
like in “Star Trek,” an excuse such as an early bipedal species seeded many
worlds over four billion years ago is given as the reason why the majority of
the aliens do not look too different from ourselves. Of course this example is
more fantasy, but even fantasy must adhere to the rules it sets. While it is
improbable, but not impossible that “First Contact” will be with a race that
looks much like us as in both “Star Trek” and “Babylon 5,” if in the
universe set up it is plausibly explained and adhered to then people will be
more likely to accept it.
Now
provided that we do not wipe ourselves out or are wiped out in the next 50
years, the odds are that computer and organic technology whether it be the
“Pre-Cogs” and genetically engineered plants or magnetic cars and virtual
realty based holographic suites is plausible if only for the fact that the rate
in which technology has developed, particularly with computers, has doubled and
quadrupled exponentially. So as is noted on one of the featurettes that is
included on disc two, Philip K. Dick was concerned about technology encroaching
on humanity and I find that this is a definite theme in all of the works that
have been produced, but the universal theme ultimately transcends the technology
and asks sociological questions about being human. There are as yet unproduced
works of Philip K. Dick where technology is not necessarily the issue. Hopefully
we will see them produced some time too.
DreamWorks
Home Entertainment is releasing “Minority Report” on DVD-Video in both an
anamorphic widescreen (2.39:1) aspect ratio as well as a panned and scanned
(1.33:1) aspect ratio with identical extra features on the second disc. Both DVD
sets are priced to sell though I am sure they can be rented as well. A panned
and scanned VHS version priced to rent, but with no extra features will street
day and date with the DVD. The reason why I mention this is in part because I
requested and received both the widescreen DVD set and the panned and scanned
VHS tape to review so I could create a more collective analysis of the film and
incorporated it like I did for “A.I. Artificial Intelligence” into the
actual DVD review itself.
I
prefer widescreen to panned and scanned films and I prefer DVD and no longer
review VHS, except for select exceptions such as “Minority Report” because I
find the framing of certain shots in both aspect ratios can greatly alter the
perception of how one views the film. On the VHS tape we are closer to Tom
Cruise’s character and depending on the screen you have at home, his image
could appear larger on your TV or monitor than the widescreen composition. So I
actually screened the tape first since I saw the film on the big screen this
past summer. On the tape the cold atmosphere that is intensified through the
cinematography of Janusz Kaminski puts the focus and attention more on Tom
Cruise and the immediate world he interacts with while the widescreen version
creates a more distant reality where we empathize with the protagonist from more
of a spectator’s perspective as opposed to the more personal feelings we
develop for the protagonist on the (1.33:1) version. So with films like
“Minority Report” and “A.I. Artificial Intelligence” the framing does
create two different understandings of the feature and the characters with the
panned and scanned version being perhaps more psychological in nature and the
widescreen version showing a more sociological perspective, in particular a
person’s plight and separation from the stark environment he or she lives in
from a God’s eye point of view.
So
that is why I screened the widescreen DVD set and panned and scanned videotape.
To get the technical specs on the tape all rounded up so I can cover the DVD in
more detail, the picture quality of the tape is quite good considering the
limitations of NTSC VHS and features a good English Hi-Fi Stereo Soundtrack with
optional English Closed Captions for the hearing impaired. The tape case was
sturdy and came within a standard, but glossy cardboard slipcase. There were no
advertisements before or after the feature, which I found refreshing, but there
are no extra features at all on the tape. For a rental, it is fine and while I
suggest you buy the widescreen DVD, renting the panned and scanned tape or DVD
for comparison is not a bad idea if the perspective created by the different
presentation styles intrigues you.
The
anamorphic (2.39:1) widescreen presentation on disc one of the DVD set is
amazing to behold with a clarity that enhances, but never betrays the films
distinct look. The English DTS Digital 5.1 Surround Soundtrack kicks some
serious butt with a full use of all five channels and the subwoofer to create an
experience that might make you feel as if the pre-crime cops were just about to
bust in your home. The English Dolby Digital 5.1 Surround Soundtrack is also
quite aggressive in nature and a French Language Dolby Digital 5.1 Surround
Soundtrack as well as an English Dolby Surround Soundtrack is encoded onto the
DVD as well. Additional options include English Captions for the hearing
impaired and French and Spanish Language Subtitles. The extra features on disc
two feature optional French and Spanish Language Subtitles as well.
Disc
two contains of bonus features, which are identical and exclusive to only the
widescreen and panned and scanned DVD sets. The DVD was produced by Mark Rowan,
whose credits include the previous DVD releases of “Shrek” and “Almost
Famous: The Bootleg Edition.” The special features were produced by Laurent
Bouzereau, who has worked on previous Spielberg related releases such as “A.I.
Artificial Intelligence” and “Close Encounters Of The Third Kind: The
Collector’s Edition.” The bonus material was shot on High Definition Video
and Mr. Spielberg oversaw even the most intricate details from approving final
color of the film’s transfer to bringing in some special effects experts from
the film to develop the disc’s distinctive menus to replicate a signature
scene from the film. The interactive menus on both discs are fully animated with
full motion scene selections and are easy to navigate.
The
featurettes are essentially parts of a larger whole beginning with “Minority
Report: From Story To Screen,” which is made up of “The Story/The Debate”
(9:35), which features interviews with Tom Cruise and Steven Spielberg
discussing in part how the script bought them together and the nature of the
film’s premise. The second part “The Players” (9:26) focuses on the
character roles of the film and how they drive the story in a noir like fashion.
The
next section is entitled “Deconstructing Minority Report,” which includes
“The World Of Minority Report – An Introduction” (9:20), which explores
the challenge of creating this science fiction noir, an examination of the
“Pre-Crime and Pre-Cogs” (8:20), “The Spyder Sequence” (5:23), creating
the “Precognitive Visions” (4:51), and the “Vehicles Of The Future”
(5:10). “The Stunts Of Minority Report” covers “The Maglev Escape
Sequence” (2:58), “Hover Pack Chase” (3:00), and “Car Factory” (2:47)
sequences with behind-the-scenes footage with Cruise and his stunt double, who
has been working with the actor for some time and how he has developed a method
of shorthand, but detailed training to work with Cruise in doing his own stunts
when possible or when Cruise chooses to do so. It is actually quite informative
and not a fluffy public relations piece.
“The
Digital World Of Minority Report” gives viewers a look at the various elements
put together at Industrial Light And Magic that include the introductory “ILM
& Minority Report” (4:31), “Holograms” (3:09), “Hall Of
Containment” (3:09), “Maglev” (3:12), “Hovercraft And Hoverpacks”
(3:08), and the “Cyber Parlor” (1:55).
The documentary concludes with some closing words from Steven Spielberg
and Tom Cruise in “Final Report” (3:57), which features the credits for this
multiple featurettes that as a whole compose this look at the making of the
film.
Within
the “Archives” section are production concepts for “Pre-Crime
Department,” “Hover Ship,” “Hall Of Containment,” “Spyders,”
“Pre-Cogs,” and “Building Architecture.” Storyboard sequences for
“Maglev chase” (2:08), “Alley Chase” (3:36), and “Car Factory”
(3:19) are included as well. Three theatrical trailers in anamorphic widescreen
(1.85:1) aspect ratios and with full English Dolby Digital 5.1 Surround
Soundtracks are also presented along with a trailer for the “Minority
Report” video game from Activision (1:37).
Cast
and filmmaker bios and detailed production notes wrap up the extra features on
disc two. There is also an insert with liner notes within the DVD keep case.
“Minority Report: Widescreen” will debut on DVD-Video on Tuesday, December
17, 2002 from DreamWorks Home Entertainment.
©
Copyright 2002 By Mark A. Rivera
All Rights Reserved.
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