Minority Report Tv Show
Published: September 22, 2015
Minority Report Tv Show, It’s amazing how much our future resembles our past. Don’t let the 2065 setting for Fox’s latest crime-drama fool you: What you’re getting from Minority Report (Monday, 9 p.m. ET/PT, ** stars out of four) is 2015 TV at its most familiar. A procedural that tries to use gimmicks to mask the emptiness of its characters and the transparency of its central mystery? Check. A crime drama built around a dedicated, frequently exasperated cop teamed with a super-intuitive outsider? Yep. A series where the actors wave their hands frantically in the air, pretending to be operating some high-tech gizmo on the assumption that post-production effects will make it all make sense? Oh yes.
Oh, and a network dragging back some time-worn movie or TV property, hoping against hope that the familiar title will give it a promotional leg up? That’s so 2015, it’s enough to make you scream.
As with CBS’s Limitless, what Report offers is not so much a remake of a feature film – in this case, Steven Spielberg’s 2002 movie starring Tom Cruise – as a sequel. The pre-crime unit, which used the powers of three “precog” children to jail criminals before they could commit their crimes, has been disbanded, much to the dismay of Detective Lara Vega (Meagan Good). Now, instead of stopping murders, she’s stuck investigating them with nothing but her own wits, virtual-reality glasses and a powerful voice-activated computer. (Slide, slide; point, point; “Search this face, last location.”)
Into her life steps one of the now grown-up precogs, Dash (Stark Sands of Broadway’s Kinky Boots). He has vague visions of murders and wants to prevent them, over the objections of his sister (Laura Regan). Unfortunately, his visions don’t come with names: for that, he has to team with his slimy, supposedly more charismatic twin, Arthur (Nick Zano, who needs to work on that “charismatic” part).
Even more unfortunately, neither the actors nor the script do much to breathe new life into a recycled idea. There are flashes of wit in some of the futuristic flourishes (an ad for some marijuana-infused “totally baked goods,” and a welcome name change for Washington’s football team), but otherwise both humor and sense are in short supply. Nor does it take a precog to guess who’s behind the crime from the first instant he (or she) appears on screen.
Still, the biggest stumbling block for Report is that precog at the center. We’ve grown used to troubled, damaged heroes- they’re about the only kind we have on TV these days. But that doesn’t mean we’re ready for a hero who spends most of the first hour all whiny, mopey and dejected.
Obviously, being constantly subjected to random flashes of people being murdered can’t be fun for Dash. But the actor and the writers have to find a way to make it more fun for us, or the only thing Dash is likely to see in the future is a cancellation notice.
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