From Flower Vase to Film Emperor in Hollywood

Praise, still praise.

The views of two authoritative media outlets, the "Los Angeles Times" and "Sight \u0026 Sound", established the media reputation of "Catch Me If You Can" in one fell swoop, but was that all?

Another round of rave reviews?

Obviously not.

A natural division exists between film critics and genre films. Critics hope that films can have more artistic development space beyond entertainment, while genre films hope to abandon artistic considerations and get as close as possible to the tastes of the general public, which often leads to them running in opposite directions.

Precisely because of this, it is by no means easy for genre films to win unanimous praise from film critics.

"Catch Me If You Can" is the same.

"Rolling Stone", 50 points, "Undoubtedly, the film has an excellent opening, but the 140-minute length completely destroys the film's lightness, becoming more and more clumsy as it goes on, and finally exposing cheap emotional approval. Perhaps, Anson Wood is the only highlight that makes 140 minutes not so torturous, a pure Anson Wood personal charm display fashion show."

"The Village Voice", 60 points, "Well-made, worth watching; but unfortunately, the film lacks a little element of going further and possessing a personal attitude: a little jazz spirit."

"USA Today", 60 points, "I don't mind watching a two-hour Anson Wood fashion show, because this young man is indeed pleasing to the eye; but the story tells the same old story of a boy lacking fatherly love: Hey, Steven, we've seen this episode before."

"The Baltimore Sun", 60 points, "Spielberg tries to re-present the retro modern feel of the 1960s and 1970s, not just a biography of a criminal, but more like a look back and observation of an era, but unfortunately, the film still lacks a bit of temperament and attitude.

Anson Wood, not sure if he is the right choice, he is very handsome and stylish, but he is too modern and does not have the texture of the 1960s; however, at the same time, his performance has become the biggest highlight of this film to avoid sliding into vulgar idol dramas, even making Tom Hanks seem clumsy.

So, I'm not sure."

Criticism, just as direct and just as sharp, is not inferior to the voice of praise.

However, that was all.

Talking about the content of the reviews, the criticisms mainly focused on "that little bit of chemistry", something invisible and intangible, without any harsh accusations against the film itself; at the same time, it also refers to the number of reviews, four, all of which are middle-of-the-road, that's all.

No bad reviews.

Following "Spider-Man", Anson's starring genre film once again received such treatment. Despite the criticisms and opinions, there were no harsh bad reviews.

In the first batch of media reviews of "Catch Me If You Can", while there were four middle-of-the-road reviews, it maintained zero bad reviews. Even if you try harder to find them, there are no more criticisms.

From the side, you can also see the film's media comprehensive evaluation treatment —

Good reviews. Good reviews. Still good reviews.

A burst of astonishment.

Although people had predicted and imagined this scene, when it really happened, when the overwhelming positive reviews dominated the screen, they couldn't help but open their mouths wide, unable to believe their eyes —

Anson Wood, once again brings a work that wins the applause of film critics!

"Chicago Sun-Times", a review from legendary film critic Roger Ebert.

"This is not the Spielberg blockbuster we expected, but surprisingly, it is worth watching.

Obviously, this is a relaxation for Spielberg between large-scale productions. From scale to content, the film appears light and simple, and a not-so-complicated story is presented with ease. Spielberg doesn't even need to use his full strength, everything is very easy.

The real charm of the film lies in Anson Wood.

Humorous.洒脱. Handsome. Fragile. Lonely. Hesitant.

Audiences can find in this child all the elements that make them fall in love, and sincerely believe that this is a prodigal son returning story, but compared with Peter Parker's slightly heavy growth, Little Frank Abagnale's desperate pursuit of family and father is more personal, yet equally convincing.

In the end, eighty points, that was his view.

Perhaps, for ordinary directors, "Catch Me If You Can" is an entertaining masterpiece worth writing about, but for top students, it is just normal performance.

This Pulitzer Prize-winning film critic seemed calm and composed. Praise is praise, but not crazy; however, another group of authoritative film critics presented a slightly different attitude.

"Cahiers du Cinéma".

In 1951, film theorist André Bazin founded this brand new film magazine in Paris, vigorously promoting the "auteur theory", firmly believing that film should be the director's work, and the director is the core and soul of a film; and played an important role in the French New Wave.

In just half a century, "Cahiers du Cinéma" has had a profound impact on the entire France and even Europe, and even gave birth to a professional term:

Cahiers派 (Cahiers School).

Because "Cahiers du Cinéma" selects the annual top ten films every year, but they are different from other thousands of annual lists, they resolutely uphold their own tastes and aesthetics, refuse to follow the trend, and have established their own unique aesthetic for many years, and have transcendent authority in global films.

Perhaps some people think that "Cahiers du Cinéma" only likes artistic films with avant-garde or even experimental temperament, but the fact is not so. They have always favored genre films, the theme, type, whether it is commercial, entertainment value, etc. are not the criteria for the editorial department to select the top ten —

Excellence is the only standard.

Over time, a group of "Cahiers School" directors have also emerged in the world film field. Perhaps they cannot win Oscars, perhaps they cannot reach the top of the three major European film festivals, but relying on the powerful influence of "Cahiers du Cinéma", their works can still enter art theaters, can still be shortlisted for the three major European film festivals, and can still continue to pull investment to continue shooting works.

Undoubtedly, the position of "Cahiers du Cinéma" is transcendent.

For legendary director Steven Spielberg, "Cahiers du Cinéma" will naturally not miss it, but all along, they have not liked this director very much, including masterpieces such as "Schindler's List" and "Saving Private Ryan", they are not interested, they praised "Jurassic Park" instead.

And this time, slightly different from Roger Ebert, "Cahiers du Cinéma" likes "Catch Me If You Can" very much, and can even be said to be crazy about it.

"Annual masterpiece!"

As always, the editorial department of "Cahiers du Cinéma" is not stingy with praise for its favorite films, pushing the film to the peak with the most enthusiastic and surging attitude, wishing all movie fans would flock to the cinema to support it.