Catch Me If You Can (2002) - Rotten Tomatoes

Catch Me If You Can2002

Catch Me If You Can (2002)



Critic Consensus: With help from a strong performance by Leonardo DiCaprio as real-life wunderkind con artist Frank Abagnale, Steven Spielberg crafts a film that's stylish, breezily entertaining, and surprisingly sweet.

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Movie Info

Based on a true story, Frank W. Abagnale was employed as a doctor, a lawyer, and as a co-pilot for a major airline company-all before reaching his 21st birthday. A successful con artist and master of deception, Frank is also a brilliant forger, whose skill at check fraud has netted him millions of dollars in stolen funds--much to the chagrin of the authorities. FBI Agent Carl Hanratty has made it his prime mission to capture him and bring him to justice, however Frank is always one step ahead of Carl, baiting him to continue the chase.

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Leonardo DiCaprio
as Frank W. Abagnale Jr.
Tom Hanks
as Carl Hanratty
Christopher Walken
as Frank Abagnale Sr.
Martin Sheen
as Roger Strong
Amy Adams
as Brenda
Chris Ellis
as Witkins
John Finn
as Marsh
Guy Thauvette
as Warden Garren
Frank Abagnale Jr.
as French Policeman
Matthew Kimbrough
as Loan Officer
Joshua Boyd
as Football Player
Kelly McNair
as Girl No. 1
Jonathan Danker
as Student No. 1
Thomas Kopache
as Principal Evans
Margaret Travolta
as Ms. Davenport
Alex Hyde-White
as Mr. Kesner
Lilyan Chauvin
as Mrs. Lavalier
Eugene Fleming
as Ticket Clerk
Robert Ruth
as Hotel Manager
Robert Curtis-Brown
as Front Desk Clerk
Robert Symonds
as Mr. Rosen
Jennifer Kan
as Female Bank Teller
Robert Curtis Brown
as Front Desk Clerk
Kelly Hutchinson
as Young Female Teller
Wendy Worthington
as Receptionist
Jane Bodle
as TWA Ticket Agent
Brian Goodman
as Motel Owner
Ray Proscia
as Salesman
Sarah Lancaster
as Riverbend Woman
Jill Matson
as Riverbend Woman
Joel Ewing
as Party Guy
Ritchie Montgomery
as Young Doctor
Jim Antonio
as Victor Griffith
Angela Sorensen
as Party Girl
Jonathan Brent
as Dr. Ashland
Benita Krista Nall
as Emergency Nurse
Shane Edelman
as Doctor Harris
Andrew Meeks
as Young Patient
Morgan Rusler
as FBI Agent
Jane Edith Wilson
as Bar Examiner
Amy Acker
as Miggy
Robert Peters
as FBI Agent
James DuMont
as FBI Agent
Thomas Crawford
as FBI Agent
Sarah Rush
as Secretary
Malachi Throne
as Abe Penner
Alfred Dennis
as Ira Penner
Max J. Kerstein
as Penner Brother
Donna Kimball
as TWA Stewardess
Jan Munroe
as Captain Oliver
Anthony Powers
as NY Savings Bank Manager
Lauren Cohn
as Female Teller
Jeremy Howard
as Teen Waiter
Jack Knight
as Man No. 3
Gerald R. Molen
as FBI Agent
Celine Du Tertre
as Little Girl on Street
Stan Bly
as Blind Man
Jamie Moss
as Young Man
Frank W. Abagnale
as French Policeman
Roger Leger
as Prison Guard
Jean-François Blanchard
as French Police Captain
Mathieu Gaudreault
as French Police
Guy-Daniel Tremblay
as French Police
Alexandre Bisping
as French Police
Patrice Dussault
as French Police
Paul Todd
as Maitre D'
Ashley Cohen
as Party Twin
Kelly Cohen
as Party Twin
Ellis Hall
as Piano Player/Singer
Steven Meizler
as Piano Player
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Critic Reviews for Catch Me If You Can

All Critics (203) | Top Critics (56)

A hugely watchable film that disappoints nonetheless.

January 3, 2019 | Rating: 2/4 | Full Review…

Excellent account of FBI's youngest Most Wanted.

December 22, 2010 | Rating: 5/5 | Full Review…

This is the director's most likeable film in ages, even if it's insubstantial, overlong and, frankly, a touch redundant.

June 24, 2006 | Full Review…

Arguably the most gifted young actor of his generation, Leonardo DiCaprio has definitely been a victim of his own success. Leo bashing was all the rage there for a while after his monster smash Titanic.

June 19, 2003 | Rating: 3/4 | Full Review…

Hanratty isn't a strictly factual character - he's called O'Reilly in the book, not his real name either - but the performance Hanks gives makes you wish he were. Abagnale isn't strictly factual either, but DiCaprio makes him an attractive counterfeit.

March 7, 2003 | Full Review…

This is a delectable film indeed.

March 4, 2003 | Rating: 4/4 | Full Review…

Audience Reviews for Catch Me If You Can

Leo DiCaprio, Tom Hanks and Christopher Walken in what may be Spielberg's best film about a young con artist who bamboozles millions by what might be best termed our willingness to be bamboozled. Without much of a hook what the work hangs on is the inner child in us all, whoever we are, who simply wants to be loved. Chris Walken steals the film as the father, not so perfect, flawed to the nth degree and yet loving. Hanks is the stepdad, uncomfortable in his role and yet trying the best he can, and DiCaprio is the gifted child somehow left behind, wondering how it is that he got that way. A work to rip your heart out.

Kevin M. Williams
Kevin M. Williams

Super Reviewer

In my review of Indiana Jones and the Temple of Doom, I spoke about the misconception that darker films are inherently better or more substantial. If Steven Spielberg's film demonstrates that darkness can severely backfire in stories of a light or silly nature, we might logically assume that the opposite is true - namely that a serious (or in this case factual) subject matter can be handled in a fun, light-hearted way while still getting its substance across. This brings us on to Catch Me If You Can, a later Spielberg effort covering the early life of teen fraudster and con artist Frank Abagnale Jr.. It takes the potentially grim and gritty subject matter of confidence tricksters and spins us a merry yarn about the excesses of youth whose protagonist is always empathetic. While it perhaps doesn't go as far into its subject matter as perhaps it could have done, it's still a sterling piece of entertainment with a lot of heart behind it. Catch Me If You Can has an interesting production history, in which any one change could have drastically altered the finished product. Having been passed around the studios for 20 years since the book rights were first optioned in 1980, the project began to gain traction in 2000 when David Fincher signed on to direct. Fincher later jumped ship to make Panic Room, being replaced first with Gore Verbinski, then Lasse Hallstrom, Milo Forman and finally Cameron Crowe before Spielberg himself opted to direct. In each case, the director's subsequent output gives us some idea of how they would have approached Abagnale's story. Fincher would have brought an edgy undercurrent to proceedings, focussing on the mental state of Abagnale and the ease with which he was able to fool the system. Verbinski would have handled the story incompetently while doing some justice to the period detail, just as he would later do with Pirates of the Caribbean. Both Hallstrom and Crowe would have made things much more sentimental, playing up the father-son relationship at the expense of the actual cons. And Forman... well, on the basis of Goya's Ghosts, it would have been rather dull. In the end, Spielberg was the right person to direct this film. Regardless of his reputation or the influence he wields over the industry, the story of Catch Me If You Can is perfect for his sensibility. It has many of the elements which have characterised his best work: light-hearted adventure, a celebration of American values, a son searching for his father and a dry, often joyous sense of humour. While direct comparisons with Indiana Jones are a little misleading, this is as close as he's come to Indy for some time, at least in terms of entertainment. The first big success of Spielberg's film is putting us in the period. The opening credits are quintessentially 1960s, with animated versions of the characters dancing out of the way of the various names. John Williams' score is playful and upbeat but with a whistful undercurrent, bringing to mind the iconic theme music for the Pink Panther series. While Monsters, Inc. used the 1960s look as juxtaposition to its funky CG animation, Catch Me If You Can uses it to great effect to acclimatise us before we've even seen our leads. The good visual work continues after the credits with some lovely period details. Janusz Kami?ski, who has worked with Spielberg since Schindler's List, offers up a colour palette of appealing pastel colours, harking us back to a more innocent, carefree time. Having been a teenager in the early- and mid-1960s, Spielberg clearly has a firm understanding of the fashions, manners and institutions of the period. No skirt seems too short, no car too modern, and no expression out of context or added purely to make the characters seem old-fashioned. While it doesn't revolve around the FBI enough to properly constitute a spy thriller, Catch Me If You Can is still the closest that Spielberg has come to making a James Bond film. He'd expressed an interest in doing so after 1941, with George Lucas pitching the original idea for Raiders of the Lost Ark as "better than James Bond". The film is fantastically paced so that two-and-a-half hours just fly by, with the thrill of the chase being beautifully balanced by more thoughtful and suspensful moments. It would be foolish, however, to think that Catch Me If You Can was all about surface, with no deeper ambitions other than recreating the period setting or providing a thrilling chase. Arguably the best thing about Spielberg is his ability to convey meaningful, often complex ideas through scenes and stories which appear to be totally frivolous. In this instance, he returns to one of his familiar themes of a father-son relationship, using a familiar device in his work to tease out the deeper motivations behind Abagnale's tomfoolery. Much like E. T. twenty years before it, Catch Me If You Can examines how divorce can severely impact the well-being of the couple's children. In the midst of Frank's great capers, which con honest people out of millions of dollars, we get scenes of Frank having often torturous discussions with his father, whose fortunes decline as Frank's rise. These meetings are a device on Spielberg's part: in reality, Abagnale never saw his father again after leaving home at 16. But the change comes with the blessing of the real-life Abagnale: even at the height of his exploits, he would fantasise about his parents getting back together. Frank begins conning as an act of determined rebellion against the old order. He sees his father, an upstanding pillar of the community, suffering as he goes through life doing things the right way; as much as he loves his father, he resolves never to end up like him. There's a through-line with Goodfellas here, with both films justifying their protagonists' illegal lifestyles on the grounds that living a legitimate life causes more trouble and unnecessary effort. Equally, there's a comparison with Death of a Salesman, with Leonardo DiCaprio standing in for Biff and Christopher Walken doing a very fine job in the tragic role akin to that of Willy Loman. But while Martin Scorsese's film was deeply ironic and sought to deglamourise the life of Henry Hill, Spielberg actively courts our sympathy for Frank's actions. Spielberg commented in interviews that people were "more trusting" in the 1960s and that the film wouldn't be deemed instructional to con artists of today. While this latter statement is definitely true, there's no denying that the film is far more sympathetic towards Frank than it is towards the FBI agent hunting him down. Carl Hanratty is depicted as being like Frank's dad: seperated from his wife, driven by work, doing his best but still on the losing side (until the end). We might dispute the value of being so sympathetic, given the differing intentions of the stories and the nature of their protagonists. But one area where Catch Me If You Can does falter a little is the mechanics of Frank's forgeries. It explains the cons in enough detail for us to follow, but it always puts the thrill of the chase over a deeper examination of how Frank managed to pull off any one scheme. On an intellectual level, it's much more Lethal Weapon 2 than To Live and Die in LA. While there is an awful lot of pleasure to be mined from just following the chase, there are moments in the film when we are conscious of Spielberg substituting depth for something less enticing. There's no issue at all with Frank seeing his father on a regular basis, but the fact that he keeps running into Carl on Christmas Eve is so contrived that even Frank Capra wouldn't touch it. Likewise, the ending drags a little, with Frank attempting one last escape in the midst of coming to work for the FBI. Had this section been trimmed, the film might not have needed the end cards explaning Abagnale's actions after reforming. Ultimately, these problems are allayed or rendered somehow less important through the charm of the central performances. DiCaprio's early career had seen him pandering to his pretty-boy image, but here he strikes a very good balance between fresh-faced charisma and emotional depth. Tom Hanks, fresh from a more demanding turn in Cast Away, turns in a typically fine performance as the downtrodden, long-suffering and frustrated Hanratty. Most impressive, however, is the Oscar-nominated Walken, who keeps things reined in tight to create one of his most meaningful performances in years. Catch Me If You Can is a rollicking good romp with a good amount of heart and a trio of fine male leads. While it's ultimately as light-headed as it is light-hearted, it does get to grips with some of the deeper issues with Frank's lifestyle as well as serving up much in the way of thrills and spills. While it's not Spielberg's best film by any stretch, it is a good example of how good he can be when he just decides to have fun.

Daniel Mumby
Daniel Mumby

Super Reviewer

Based on a true story, Frank (Leo) a 17 year old runs away from home when his parents get divorced. To survive he starts to forge cheques and takes on false identities as a pilot, doctor and lawyer. Frank is chased by the FBI Carl (Tom) all across America and Europe. Great cast including Leonardo DiCaprio, Christopher Walken, Martin Sheen and Amy Adams. Directed by Steven Spielberg.

Candy Rose
Candy Rose

Super Reviewer

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