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In the film's best set piece, he submerges himself in a bathtub while mechanical spiders try to identify him by scanning his retina. In one scene, Anderton jumps across lanes of magnetic-levitation cars that speed both horizontally and vertically through the automated cityscape.
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There are some extraordinary sequences in Minority Report, and they are almost always the ones in which Spielberg lets loose his genius for graphic movement. Either he is a murderer-to-be or the Pre-cogs are wrong - which would call into question everything Anderton stands for as a crime fighter. Believing himself innocent and set up by his enemies, he goes on the lam. Then comes the twist: Anderton is implicated in the murder, within 36 hours, of a man he doesn't even know. But because the Pre-cogs are supposed to be infallible, and because the murder rate in Washington, D.C., for the past six years has dropped to zero, the public is enthusiastic, and there is a political initiative pending to make Precrime go national. The moral dilemma is that none of the convicted is actually guilty of anything in the present. The Precrime cops, tipped by the trio, swoop down and arrest potential murderers, who are contained in a comatose state in long pneumatic tubes while their misdeeds are played out before their eyes. The garish, fractured visuals may cause some in the audience to experience déjà vu: Can it be that the Pre-cogs are channeling the credit sequence from Seven? The images they transmit are displayed in haphazard fragments on a giant screen before which Anderton stands like a maestro, sorting out the pictures with sweeping waves of his arms. Tom Cruise plays John Anderton, who runs the Justice Department's Precrime unit, which acts on evidence provided by three human "Pre-cogs" who float in a liquid suspension chamber and can see visions of future murders. Hope is pitted, rather unsuccessfully, against dystopia - or is it dyspepsia? The result is one of the glummest and most forbidding thrillers ever. Like A.I., Minority Report is a movie in furious conflict with itself. The oppressiveness, of course, is intentional, but is it necessary? High-concept science-fiction escapades often try to impose new ways of seeing, but Spielberg seems intent on blistering our optic nerves. Set in the year 2054, Steven Spielberg's Minority Report looks clammy and bleached-out.