To this day, none of Steven Spielberg's works have ever been featured on the "Cahiers du Cinéma" top ten films of the year list. No matter how much other dia praise or elevate his work, this French magazine remains unwavering in its own stance, so much so that Spielberg, a director of unparalleled status in Arica, has never received its recognition.
What cos as a bit of a surprise is that "Cahiers du Cinéma" has taken a different view on his latest film, Catch If You Can, showering it with praise and elevating it to new heights.
"Fluid, lively, humorous. In a story brimming with dramatic tension, the cara is always focused on the characters' psychological states—the lies, the tug of war, the hesitations. Whether the characters are basking in success or wallowing in sorrow, their ntal state is always at the forefront. The film opens a small window into the culture and psyche of the 1970s."
"Fashion, trends, fragntation, unease—those born during the Great Depression are becoming the silent generation, gradually fading into obscurity after enduring confusion and upheaval. Yet, young Frank Abagnale bursts onto the scene as an anomaly, making himself heard in a way that defies the silence."
As Carl Hanratty, the character in the film, remarks toward the end:
"Sotis, lying is easier."
Unlike other dia outlets, Cahiers du Cinéma approaches films from unique angles—cinematic, cultural, psychological, and artistic. They are uninterested in actors' performances, focusing solely on the director's vision.
The magazine declared that Catch If You Can is undoubtedly one of the must-see films of the year, offering a slightly different perspective from Roger Ebert.
They believed Spielberg abandoned his usual ambitions and desires for blockbusters, setting aside the need for grand thes and large-scale productions. Instead, he approached this film with a lighter touch, crafting a work that perfectly captures his keen awareness of the era.
This "small film," they claim, is where Spielberg's directorial prowess truly shines—effortless and graceful.
The praise!
Though praise from different sources may sound similar, there is a marked difference in how Roger Ebert and Cahiers du Cinéma perceive the film.
However, Cahiers du Cinéma's reviews aren't included in aggregate review scores.
It's not that the magazine isn't reputable enough; it's just that they often delay their evaluations of new releases, or even refuse to review them, leaving dia aggregators no choice but to omit their opinions.
For this reason, Cahiers du Cinéma publishing a review on Christmas Day, no less, was remarkable—evidently not due to any special connection between the film and France, but simply because the magazine wanted to highlight its admiration for the movie.
That one small opening provided a glimpse into the imnse impact Catch If You Can was generating.
So, when glowing reviews filled every corner of the internet, it no longer ca as a surprise.
Out of the first batch of reviews, there were only four mixed reviews, while the rest were overwhelmingly positive.
The New York Tis gave it 90/100, praising its "superb entertainnt value" and describing the viewing experience as "comfortable."
Ti magazine also rated it 90/100:
"It has everything you want from a holiday movie: joy, humor, lightheartedness, warmth, and emotion—a well-crafted, feel-good Hollywood genre film. And of course, it has Anson Wood—seriously, who could resist Anson Wood?"
The Hollywood Reporter gave it another 90/100:
"Despite being over two hours long, trust , you won't notice the ti passing. Like Mary Poppins' magic, with just a snap of the fingers, you'll enjoy a smooth, delightful experience. It could even ease family disputes during Christmas."
Variety offered 89/100, calling it "charming, light, humorous, and warm," and noted it as "Spielberg's most entertaining film in years."
The New Yorker rated it 85/100, describing the movie as "a light and effortless dessert that will leave you savoring its flavor for days."
Vanity Fair gave it 83/100, saying:
"It's a feel-good film that leaves you dancing, but it runs a bit too long, missing the perfect mont to cross the finish line. Fortunately, Anson Wood's irresistible charm makes up for it, keeping audiences happy in their seats."
The reviews were resoundingly positive.
From major dia outlets to gossip magazines, there was a unified sentint:
While Catch If You Can may not be the kind of 100-point masterpiece that shakes you to your core, no one should pass up this delightful, lighthearted film.
Ti magazine emphasized that DreamWorks' decision to release the film just before Christmas wasn't only because of its connection to key plot points, but also because it believed Catch If You Can was the most fitting holiday movie in the past five years, perfectly complenting the festive atmosphere.
Thus, most dia ratings clustered in the 70-80 range, reflecting the film's easy-going and joyful vibe.
Los Angeles Weekly was one of the few to stand out with a more modest score, giving the film 80/100. Though their review wasn't particularly different from others, it sparked a wide discussion in Hollywood and among film fans.
"Anson Wood is a handso man.
So agree, others disagree. Although those in favor certainly have the overwhelming advantage, personal aesthetics are subjective. So prefer beards, others like a bit of a belly, and still others are drawn to wild energy. Not everyone loves Anson Wood.
However, in Catch If You Can, no one can deny his charm—not his looks, but his presence.
It's a blend of innocence and maturity, sunshine and vulnerability, cheerfulness and cunning.
In his previous works, Anson Wood often downplayed his physical appeal, trying to blend into his roles without disrupting the story's balance. But this ti, Spielberg shines the spotlight on him, allowing and even encouraging him to showcase his full range of charm.
This is the first ti audiences have seen so many different facets of Anson. Without a doubt, he evokes mories of classic male actors from Hollywood's golden era—actors who not only had good looks but also radiated charm, backed by solid professional skills that made the big screen co alive.
So.
If you're going to see Catch If You Can for Anson Wood, that's a solid choice.
And if you want three reasons to see it in theaters, let think carefully—
Anson Wood. Anson Wood. Anson Wood."
This review, in stark contrast to Cahiers du Cinéma, focused entirely on the actor—specifically Anson Wood, putting the spotlight squarely on him.
After Spider-Man, Anson has once again beco a hot topic in Hollywood, and this ti he's reached new heights.
Then, all of Hollywood began buzzing with excitent.
Suddenly, everyone was talking about Anson, and the frenzy following Titanic's release seed to be happening all over again.
Praise. Frenzy. Heat.
The scene Warner Bros. had long been waiting for had finally arrived. Yet it didn't belong to Harry Potter or The Lord of the Rings—it belonged to Anson.
From sumr all the way into the holiday season, Anson has beco the brightest rising star in Hollywood for 2002.
So, is this an unexpected surprise, or simply the standard ending?
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