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CONTENT WARNING: Discussion of drug addiction, loss of a child, harmful drug tropes, gaslighting, relived trauma, murder, child abduction, assault, violence, injuries to eyes.

The early-to-mid 2000’s were not a banner time for filmmaking, across the board. Sure, there’s some diamonds in the rough, but blockbuster films of that 5-6 year period were all dark and gritty, overexposed and filtered with silver or blue lights. For some directors, it could yield great results - David Fincher made an entire career from that scheme. But we’re not talking about Fincher - we’re talking about the master of epic, sweeping, blockbuster shots, Steven Spielberg. And there’s not a lot about this movie that’s good. Steven definitely put in the effort to create a futuristic world for the characters to live in, but at what cost? Nobody is particularly great in this movie, including the master of charm and screen presence, Tom Cruise. And don’t get us started on the lackluster, wandering script with enough holes that you don't need a precog to see through them. We’re reviewing Steven Spielberg’s messy vision for Minority Report on Macintosh & Maud Haven’t Seen What?!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Minority Report” from the soundtrack to Minority Report, composed and conducted by John Williams . Copyright 2002 Fox Film Music Corp., SKG Music LLC.

Excerpt taken from "The People's House" from the soundtrack to Lincoln, composed and conducted by John Williams. Copyright 2012 Dreamworks II Distribution Co., LLC.