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Minority Report Soundtrack

4.0 out of 5 stars 35 customer reviews

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Audio CD, Soundtrack, June 18, 2002
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Editorial Reviews

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While Steven Spielberg's sci-fi detective thriller revolves around the intriguing premise of future cops arresting criminals before their crimes, beneath its high-tech veneer it asks a simple but infinitely powerful question: Do we have the power to alter our own destiny? Coming on the heels of the director's posthumous collaboration with Stanley Kubrick, A.I. Artificial Intelligence, it also affords longtime Spielberg musical collaborator John Williams a rare back-to-back opportunity to construct a musical future-world. The composer's efforts here are largely a forceful departure from A.I.'s sparkling minimalist influences, employing an enduring cinematic cliché--that film futures often sound much like the works of early-20th-century serialist/modernist classical composers--that puts a compelling new spin on the ever slippery concept of postmodernism. If the cues here occasionally recall the jagged edges, dark corners, and rhythmic fury of some of Goldsmith's best sci-fi scores, it's only a tribute to both legends' deep musical roots and preternatural scoring instincts. But make no mistake, this is pure Williams at his most compelling, employing his full arsenal of technique and always masterful use of color to construct a new genre--call it "future noir"--from inspirations as diverse as Bartók, Ligeti, Penderecki, Webern, and Schoenberg. Like Herrmann's suspenseful scores for Hitchcock (one of the film's intentional musical touchstones), there may be nary a memorable melody in it, but it's a riveting--and occasionally harrowing--listen from opening bars to its final, minimalist-tinged string flourishes. --Jerry McCulley

Track Listings

Disc: 1

  1. Minority Report
  2. "Can You See?"
  3. Pre-Crime To The Rescue
  4. Sean And Lara
  5. Spyders
  6. The Greenhouse Effect
  7. Eye-Dentiscan
  8. Everybody Runs!
  9. Sean's Theme
  10. Anderton's Great Escape
  11. Dr. Eddie And Miss Van Eych
  12. Visions Of Anne Lively
  13. Leo Crow.The Confrontation
  14. "Sean" By Agatha
  15. Psychic Truth And Finale
  16. A New Beginning


Product Details

  • Composer: John Williams
  • Audio CD (June 18, 2002)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Dreamworks
  • Run Time: 145 minutes
  • ASIN: B000068C9F
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (35 customer reviews)
  • Amazon Best Sellers Rank: #78,979 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
One of the most exciting things for many movie-music lovers is getting their hands on the next John Williams soundtrack. I myself have been a great fan of his scores. He writes such beautiful and grand themes, heartbreaking melodies, and pulse-pounding action music that it seems never to stop. For over 30 years, he has poured out scores, one after another, and each one is bold, beautiful and exciting. My recent favorites of his have been "The Phantom Menace", "Harry Potter and the Sorceror's Stone", "The Patriot", "Attack of the Clones", and "A.I." And now there is another to add to that list: his newest collaboration with director Steven Spielberg, "Minority Report".
Recently, Williams has been branching off, and covering new ground for himself, while also reminding listeners of his previous efforts. That is the magic of John Williams's music: You know when you're listening to him.
I was highly anticipating the score for "Minority Report", while at the same time, I was fearful. After all, this man has produced scores to dozens upon dozens of films. After after the recent successes "A.I." and "Attack of the Clones", I wondered: Could he still do it?
The answer is yes. With the score for "Minority Report", I found something very different than what I expected, and yet something that thrilled me at the same time. This is a much harder-edged film, which calls for a much harder score. There aren't many of the soaring melodies that Williams is known for here. Instead there is some very Bernard Herrmann-like suspsense chords, haunting vocals, and some very futuristic-sounding tones.
And if this sounds like a major step in the wrong direction to fans of the old John Williams, then you'd be wrong.
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Format: Audio CD
ok, for mr. dvdowner who gave this soundtrack one star and said its Williams worst work, i have something to say. First off, this film (Minority Report) is a work of art by Spielburg. Yes, it is dark, mr. "dvdowner" is too wimpy to handle it. Second, its dark for a reason. Spielburg is flat out, asking us if this is how we want to be living in fifty years, because thats the track our country is headed in. Thirdly, William's music fits perfectly, he doesn't always have to have trumpets and loud brass in a major key for every album, especially this one. Track #9, "Sean's Theme" is incredible! In my opinion, Williams has never had a bad recording, and never will, especially if you compare him to other musicians. So, mr. dvdowner, whoever you are, think before you embarrass yourself by stating something you don't understand, and something no one else agrees with. THANK YOU.
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Format: Audio CD
Before I begin, I must mention that Williams did incorporate some Classical Music from other composers into this score.
He did use the 1st movement of Franz Schubert's very famous "Unfinished Symphony" as the backdrop for the moments when Tom Cruise's character was in the "Pre-Crime computer". That is, where he sees the flashes of images and tries to put them together with his hands from the Pre-Cogs' inputs as if playing the Theremin.
Williams also used some slow movements from a Peter Ilyich Tchaikovsky symphony and snatches of another Romantic era composer I can't recall at this moment - perhaps Robert Schumann.
All that aside, Williams has served his craft well again with a marvelous and evocative score. Williams is maturing finally and has demonstrated that he will not be a servant to "Sound-bite Tunes" or "Signature Tunes" to each movie - merely to add cohesion as in the symphonic fabric of a full-length classical work. These are simply not always necessary.
The best music, it has been said before, it that which you do not hear while you are watching a movie.
Perhaps Williams has finally taken note and just scored the movie as it should be....a collection of actions and feelings..and not just Top 40 hits bundled up into an orchestral framework.
Bravo John!
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Format: Audio CD
This score is nothing that you would expect to come from John Williams. While good in parts, most of the music is basically a background listening with no big orchestral themes to jump out at you. The main thing about this score is that it fits perfectly in the film and sounds great in it, but on its own, with the exception of some parts, fails to inspire. Williams opens with a basic concert arrangement of "Minority Report", which is good and one of the better tracks. It contains strings reminiscent of Bernard Herrmann, tense trumpet lines, and an overall ominous feel. "Spyders" is a good action cue with plenty of horn trills and loads of percussion that reminds me a lot of what was used in Star Wars II: Attack of the Clones. However, the best track is "Anderton's Great Escape", which is Williams in sure-fire action scoring mode with heavy percussion and brilliant brass licks. Conveying the atmosphere of the future, Williams throws in a female vocalist, Deborah Dietrich, in a few tracks, mainly "Visions of Anne Lively". The majority of the other cues contain filler music, which you listen to in a background setting, such as "Pre-Crime to the Rescue", "The Greenhouse Effect", and "'Sean' by Agatha". Parts of this score do showcase John Williams' unique talents, but on the whole, falls short of an enjoyable and memorable listening experience.
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