Tom Cruise,
right, in
"Minority
Report," read
co-screenwriter
Jon Cohen's
script and
sent it off
to Steven
Sp ielberg, left.

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and practical" — became a nurse and
toiled for a decade in Philadelphia hos-
pitals. One evening in the 1980s, the
creatively frustrated nurse came home
and began typing a short story out of
the blue. After years of hard work, he
wrote a couple novels that were
optioned by Hollywood producers.
His big break came the day he
turned in his Minority Report draft;
while Frank overhauled the script, he
reportedly kept Cohen's structure and
eyeball imagery.

248-968-2225

Though Cohen's career has since
skyrocketed, he likes to point out that
he still shops in thrift stores and lives
in Swarthmore. Then he has a surreal,
Dickian moment: "I've made a movie
with Tom Cruise and Steven
Spielberg," he marvels. "How impos-
sible is that?" ❑

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239 N. Old Woodward

Across from the Palladium

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Minority Report, rated PG-13,
opens today in area theaters.

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which they are able to visualize mur-
ders that have not yet happened —
to arrest murderers before they com-
mit their crime.
Anderton is the effective, driven
chief of Precrime, a maestro of the
technowhirl that is the division's
main console. His sweeping arm
movements and surface-tickling fin-
gers as he searches for clues about
soon-to-be-killers would be
beautiful if it weren't for
the violent images they
manipulate.
And Cruise is the perfect vessel for
Anderton, with his earnest eyes and
slow-burning desire to right the
wrongs of the world.
But everything changes when the
precogs predict Anderton will
shoot a man he's never met before,
and he is forced to run not so
much for his life as for his need to
know what it is the trio sees him
do, and why.
This is where the movie shifts
from a detailed handbook on the
Precrime way of law enforcement
to the mystery of Anderton's past
and how it haunts his future.
Spielberg speeds along at break-
neck pace for the first hour and a

half, stopping along the way for a
spectacular action set-piece in a car
factory, and when he finally slows
it down enough to explain a few
things, including the meaning of the
title, his true purpose is revealed.
We are all blind to one thing or
another, he's telling us: the wound-
ed parents of a lost child are not
alone in their pain; a single per-
spective doesn't represent the
whole story; nothing is
truly perfect, no matter
how smooth its surface. This
is not weakness. This is human.
Most of all, Minority Report
wants us to remember we are at our
most human when we make choic-
es -- including the choice to
accept or disregard what we see in ,
front of us at face value.
This is not a message film by any
stretch of the imagination, yet its
themes ring through the crash-bang
of Anderton's marathon run and
the unexpected moments of humor
(and even the dippy epilogue).
What it boils down to is this:
When you're Steven Spielberg, it's
possible to hammer home a mes-
sage with subtlety.

— Reviewed by Erin Podolsky

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2002

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