MINORITY REPORT

Last summer, when Steven Spielberg's science-fiction epic A.I.: Artificial Intelligence was released, it was greeted with a few rave reviews but near-universal audience apathy. Working from material shepherded by the late Sultan of Cynicism, Stanley Kubrick, Spielberg directed the film as if Kubrick's ghost perched on his shoulder, demanding that every scene be moodier, uglier, and above all slower than the one than preceded it; the film was brilliantly designed but emotionally vacant, and it drained you of your energy.

SPY GAME

Tony Scott's Spy Game opens with one of those enjoyably implausible preludes we're used to seeing in the James Bond series: It's 1991, and American CIA agent Tom Bishop (Brad Pitt) is attempting to free a female captive (Catherine McCormack) from a Chinese prison. How will he accomplish this task? Why, by masquerading as a doctor called in to give vaccinations to the inmates, feigning fatal electrocution after touching a wired prison fence - which results in the momentary shut-down of the prison's electrical power, including its surveillance cameras - lying "dead" on a hospital gurney, fleeing the scene when no one's looking, scrambling down ratty corridors in search of the captive, bribing a mentally defunct witness with a piece of gum, and accompanying the prisoner back to the "dead" man's gurney, where prison guards will unknowingly escort the duo to an ambulance and then to freedom. And what trips up the plan? The gum.