In The Fugitive, an innocent Harrison Ford ran from the law and tried to catch the real bad guys. Matt Damon makes a similar run this week in The Bourne Identity, with one major difference—he is a killer (with amnesia, no less).
Meanwhile, Tom Cruise is running from the cops in Minority Report. He has an even tougher challenge. The evidence says that he will kill someone in the future.
There's running everywhere you look this week. Nicolas Cage is dodging bullets in World War II as he protects the life of a Navajo codebreaker in Windtalkers. And speaking of running and dodging: Scooby-Doo is running from critics, dodging bad reviews.
Few critics will be able to discuss Steven Spielberg's Minority Report without bringing up Blade Runner. Both futuristic sci-fi stories came from the same author, Phillip K. Dick. And both artfully explore questions about free will, revenge, human arrogance, technology, justice, mercy, and God. As if in acknowledgement of that, Spielberg begins his film almost identically: with a deeply resonant bass note and the title of the film against a black screen.
But after that, the film takes new directions. This is not Blade Runner's bleak, dark metropolis. It's a spacious, bright, open city dominated by technology and information, one that seems far more possible. Washington, D.C., is quite recognizable. The spiffy sci-fi cars that crowd future rush hours suggest this is the same future we saw in Spielberg's last film, A.I. Artificial Intelligence. The hi-tech tools of Minority Report's world are clever, impressive, and so bounteous that they become almost too distracting. Example: Advertising follows the hero everywhere, and because sensors can identify him easily, each audio commercial ...1
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