Praise, and more praise.
With endorsements from two authoritative media outlets, the "Los Angeles Times" and "Sight and Sound," the media reputation of Catch Me If You Can was cemented. But is that all there is?
Another round of stellar reviews?
Clearly not.
There is a natural tension between film critics and genre films. Critics often hope for films to push artistic boundaries beyond mere entertainment, while genre films aim to cater to popular tastes, often setting the two on opposite paths.
For a genre film to win unanimous praise from critics is no small feat.
Catch Me If You Can faces the same challenge.
"Rolling Stone" rated it 50 out of 100, saying, "Without a doubt, the film starts strong, but the 140-minute runtime weighs it down. As the film progresses, it becomes clumsier, ultimately revealing a shallow emotional core. Maybe Anson Wood is the only highlight, keeping the 140 minutes from feeling unbearable with what becomes a fashion show of pure Anson Wood charisma."
"Village Voice" gave it 60, commenting, "It's well-made and worth watching, but unfortunately, it lacks that extra something—something with a bit more personality, a bit more jazz spirit."
"USA Today" also rated it 60, stating, "I don't mind watching a two-hour fashion show of Anson Wood because this young man is certainly easy on the eyes. But at the end of the day, it's just another father-son story: Hey, Steven, we've seen this one before."
"The Baltimore Sun" also gave it 60: "Spielberg tries to evoke the retro-modern vibe of the '60s and '70s. It's more than just a biopic of a criminal; it's a nostalgic look at an era. But the film lacks a certain flair and attitude. Anson Wood is handsome and charming, but he's too modern to capture the '60s vibe. However, his performance is the film's saving grace, preventing it from descending into a trashy soap opera, and even makes Tom Hanks seem clumsy in comparison. So, I'm not sure."
The criticism is direct and sharp, just as strong as the praise.
But that's all there is.
In terms of the reviews, the critiques mostly focus on that elusive "chemistry," an intangible quality. There's no harsh criticism of the film itself. Moreover, there are only four such reviews—all of them lukewarm. That's it.
No negative reviews.
Following Spider-Man, this is another genre film starring Anson Wood that manages to escape harsh critique. Despite some criticisms, no scathing reviews have surfaced.
In the first batch of media reviews for Catch Me If You Can, there were four mixed reviews but no negative ones. Even after scouring through the critiques, no more severe criticisms were found.
This hints at the overall reception of the film from the media—
Positive. Positive. And more positive.
A sense of disbelief lingered.
Even though many had anticipated this outcome, when the wave of glowing reviews actually hit, people couldn't help but gape, astonished by the unanimous praise.
Anson Wood has once again brought forth a work that wins over critics!
The Chicago Sun-Times review, penned by legendary film critic Roger Ebert, reads:
"This isn't the Spielberg blockbuster we might have expected, but it's surprisingly worth watching.
Clearly, this is Spielberg relaxing between major projects. The film feels light and simple, its story isn't complicated, and Spielberg handles it with ease, never needing to exert full effort. Everything flows smoothly.
The real charm lies in Anson Wood.
Humor. Suave. Handsome. Vulnerable. Lonely. Lost.
Audiences will find all the elements to fall in love with in this young man and will truly believe this is a story of redemption. Compared to Peter Parker's heavier journey, young Frank Abagnale's desperate search for family and his father feels more personal but just as convincing.
Undoubtedly, Anson Wood takes a significant step forward in his acting career. Even alongside actors like Tom Hanks and Christopher Walken, he holds your attention."
Ebert gave it 80 out of 100.
He wasn't wild about the film, keeping his review simple and restrained, acknowledging Spielberg's talent. Ebert recognized that for Spielberg, this film was too easy to warrant much fuss. Instead, it was Anson's unexpected performance that gave Ebert cause for celebration.
In conclusion, Ebert's verdict: 80.
Perhaps for a regular director, Catch Me If You Can would be a notable success, but for an exceptional filmmaker, this is just par for the course.
Ebert, a Pulitzer Prize-winning critic, remained calm, offering praise without exaggeration. Meanwhile, other authoritative critics took a slightly different approach.
Cahiers du Cinéma.
Founded in 1951 by film theorist André Bazin in Paris, this magazine became a strong advocate of the "auteur theory," believing that directors are the true authors of their films, the core and soul of the work. The magazine played a significant role in the French New Wave.
Within just half a century, Cahiers du Cinéma had a profound influence on French and European cinema, giving birth to a term: "Cahiers school."
The magazine stands out for its annual "Top Ten Films of the Year" list. Unlike other lists, they staunchly defend their tastes and aesthetic, refusing to follow trends. Over time, they built a unique standard of taste and gained significant global authority.
Some might think that Cahiers du Cinéma only favors avant-garde or experimental films, but that's not true. They've always appreciated genre films. The magazine's criteria for their top ten isn't based on subject, genre, commercial appeal, or entertainment value—
Excellence is the sole criterion.
Over time, a group of directors known as "Cahiers filmmakers" emerged in the global cinema landscape. They might not win Oscars or conquer the top European film festivals, but thanks to the magazine's influence, their films could still reach art house audiences and gain entry into major film festivals.
Undoubtedly, Cahiers du Cinéma holds an unparalleled status.
When it comes to Steven Spielberg, the magazine has had a mixed stance. While they weren't fond of works like Schindler's List or Saving Private Ryan, they praised Jurassic Park.
This time, unlike Roger Ebert, Cahiers du Cinéma loved Catch Me If You Can. In fact, they were nearly ecstatic about it.
"A Masterpiece of the Year!"
True to form, Cahiers du Cinéma editors were unrestrained in their praise for films they adored. They passionately championed the film, urging all moviegoers to flood theaters and support it.
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