--- title: "Catch Me If You Can" year: 2002 kind: "film" canonical: "https://film.one/film/catch-me-if-you-can" fi1m_id: "catch-me-if-you-can" imdb_id: "tt0264464" tmdb_id: 640 wikidata_id: "Q208108" fi1m_score: 83 critics_score: 73 critics_reviews: 9 published: "2026-09-14" updated: "2026-09-18T08:37:54.199304+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Catch Me If You Can (2002) Directed by Steven Spielberg · 2h 21m · MPA PG-13 · Drama, Crime ## Identity Catch Me If You Can - **Canonical:** https://film.one/film/catch-me-if-you-can - **Type:** Film - **Fi1m ID:** catch-me-if-you-can - **IMDb ID:** tt0264464 - **TMDB ID:** 640 - **Wikidata ID:** Q208108 - **Same entity:** https://www.imdb.com/title/tt0264464/, https://www.themoviedb.org/movie/640, https://www.wikidata.org/wiki/Q208108 **Fi1m score: 83** · Critics 73 from 9 reviews *In a sentence:* We would have cashed Leonardo DiCaprio’s cheque, which is mildly worrying > Steven Spielberg makes an engrossing conman comedy, with Leonardo DiCaprio supplying the charm and Christopher Walken the hurt. The pursuit is a pleasure, though 141 minutes gives the sentiment more space than it needs. ## Synopsis Leonardo DiCaprio plays Frank Abagnale Jr., a teenage con artist whose confidence gets him accepted in places where he has no business being. He poses as a pilot and forges cheques, using charm and quick thinking to keep his impersonation going. Tom Hanks plays Carl Hanratty, the FBI agent pursuing him, while Christopher Walken plays Frank’s father. As the pursuit continues, the film follows both the young man’s frauds and his ties to his family. Steven Spielberg directs this crime drama, with Amy Adams as Brenda Strong and Martin Sheen as Roger Strong. ## Review *Catch Me If You Can* is a funny, generous crime film, and we recommend it despite its occasional insistence on explaining feelings the actors have already made clear. Steven Spielberg asks us to enjoy a teenage conman’s nerve before considering what might drive it. Jeff Nathanson’s screenplay gives the frauds plenty of attention, but keeps returning to Frank’s family. Leonardo DiCaprio plays Frank Abagnale Jr., with Tom Hanks as the pursuing FBI agent, Carl Hanratty. DiCaprio understands how little separates the confidence to pass as somebody else from the desperate hope of being believed. His Frank is persuasive enough to make the impersonations pleasurable, yet young enough that we remain aware of the effort involved. We laughed at how readily we accepted him as a pilot; DiCaprio’s assurance had us doing much the same work as the people being fooled. The cheque fraud gives that charm a practical use, and the performance never needs to underline how clever it is. Hanks is useful precisely because he does not compete for that charm. His generous supporting performance makes Hanratty worth watching even when we are impatient to get back to Frank. The agent’s interest in the young man gradually matters as much as the business of catching him, without requiring either actor to advertise the change. In a caper, the pursuer can become a nuisance between the enjoyable bits; here, we are happy to spend time with him. Walken’s Frank Abagnale is the strongest reason to take the family scenes seriously. He gives the father enough warmth for us to understand the son’s attachment, while allowing the relationship to remain uncomfortable. Spielberg and Nathanson occasionally push the explanation too far, as though a family connection could account for every deception. Walken does more useful work by making the father’s importance felt without asking us to settle everything we think about him. Janusz Kamiński’s glossy photography makes the period settings inviting, which helps us understand why Frank wants admission to them. Jeannine Oppewall’s production design and Mary Zophres’s costumes give the 1960s settings a convincing respectability. The pilot impersonation makes the connection between appearance and authority particularly clear. The clothes and surroundings help the fraud seem possible, so the period detail keeps doing useful work even while we are enjoying looking at it. John Williams’s jazz score makes the chase playful without draining away its suspense, and the animated opening credits establish that lightness early. Michael Kahn’s editing keeps the impersonations moving briskly enough that their success feels plausible while we are watching. The problem is the accumulation: at 141 minutes, the film has more business than it needs. Individual passages remain lively, but the urge to include another detail gradually makes us notice how long we have been following Frank. Caper films often treat skill as sufficient reason to like a thief. Spielberg wants us to care about this one, and his actors make that attachment feel earned even when the script presses too hard. We would happily choose their company again. Just do not choose it for a quick watch before bed. *Fi1m score 83, published 14 September 2026.* ## What the critics say Most critics find Catch Me If You Can a stylish, buoyant caper, with praise centred on Leonardo DiCaprio’s charm and the ease with which he carries the impersonations. Hanks and Walken also draw strong notices, while the period detail, elegant camerawork and jaunty score help make the chase consistently enjoyable. Several reviews find more feeling beneath the polished surface than its light tone initially suggests, particularly in the father-son relationships. The reservations concern length, sentimentality and how much the film reveals about its protagonist. The spread runs from enthusiastic approval to qualified admiration, with no outright rejection: even the cooler reviews acknowledge the performances and polish. The family material produces the clearest disagreement. Empire sees it as a source of emotional depth and unexpected darkness, whereas Screen Daily argues that the family emphasis and moral reassurance take the sting out of the conman’s behaviour. ## Straight answers **Is Catch Me If You Can worth watching?** *Catch Me If You Can* is worth watching for anyone who enjoys a caper with warmth behind it, and we scored it 83. Leonardo DiCaprio's conman is persuasive enough to carry the impersonations, and Christopher Walken gives the family scenes real hurt. At 141 minutes it runs longer than it needs to, so it is not one for a quick evening. **How long is Catch Me If You Can, and what is it rated?** *Catch Me If You Can* runs 2h 21m and is rated PG-13 by the MPA in the US. It is a drama and crime film. **Where can I watch Catch Me If You Can in the US?** *Catch Me If You Can* is streaming on Paramount+, The Roku Channel, Amazon Prime Video and Apple TV in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $4.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Catch Me If You Can, and is it suitable for children?** *Catch Me If You Can* is a 12A crime comedy about cheque fraud and impersonation, not violence, and there is nothing in it we would call frightening. Younger children may find the family scenes uncomfortable and the running time long. Teenagers should manage it easily, and the squeamish have nothing to worry about. **How does Catch Me If You Can compare to The Lady Eve?** *Catch Me If You Can* is the warmer and looser of the two, while [*The Lady Eve*](https://film.one/film/the-lady-eve) is the sharper and shorter. Preston Sturges builds a fast romance around Barbara Stanwyck's calculating fraud; Steven Spielberg spends more time on a young man's family and takes 141 minutes to do it. Choose Sturges for wit, Spielberg for sentiment. **What should I watch after Catch Me If You Can?** After *Catch Me If You Can*, try [*The Lady Eve*](https://film.one/film/the-lady-eve) (1941, Fi1m 90): For another fraud whose charm makes good judgement seem an inconvenience. Then [*Paper Moon*](https://film.one/film/paper-moon) (1973, Fi1m 86): Another young swindler, with family feeling that never quite becomes respectable; and [*Nine Queens*](https://film.one/film/nine-queens) (2000, Fi1m 83): Two conmen test each other’s nerve in a brisk, suspicious partnership. ### Reviews we read (11) - **Empire**, Mark Dinning (85/100, inferred): The review finds the film a deeply moving, wonderfully acted coming-of-age black comedy that is more sophisticated and darker than expected. It singles out the handling of fatherhood themes and the strong ensemble cast, particularly DiCaprio, Hanks and Walken, for praise. [Read](https://www.empireonline.com/movies/reviews/catch-can-review/) - **Slant Magazine**, Chuck Rudolph (85/100, inferred): The critic praises Spielberg for rejuvenating himself with a sleek, frothy adventure that is original and inventive, highlighting DiCaprio's performance and the emotional depth beneath the glossy surface through strong supporting turns by Hanks and Walken. It is quick, charming, exciting, and poignant without being obvious. [Read](https://www.slantmagazine.com/film/catch-me-if-you-can/) - **Radio Times**, Ian Freer (4/5): Praises the stylish slice of effortless entertainment with DiCaprio's movie-star charisma, Hanks' generous supporting turn, Walken's superb performance, great period detail and directorial class. Notes some sentimentality intruding but overall calls it one of Spielberg's most purely enjoyable movies. [Read](https://www.radiotimes.com/movie-guide/b-qprf5v/catch-me-if-you-can/) - **The Independent** (80/100, inferred): The review calls it a light yet rich conman caper that is visually and thematically delightful from its animated credits onward. It praises the integrated imagery, jazz score and the way the chase nourishes both the conman and the pursuing FBI agent. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/catch-me-if-you-can-129169.html) - **The Hollywood Reporter**, Kirk Honeycutt (75/100, inferred): The critic views the film as a lighter change of pace for Spielberg, a breezy caper evoking late-1950s and early-1960s movies with its innocent tone and con-artist antics. It is briskly paced with strong lead performances but runs long due to including too many story details. [Read](https://www.hollywoodreporter.com/movies/movie-news/catch-me-you-can-review-2002-movie-1069445/) - **The Guardian**, Philip French (70/100, inferred): The critic finds the film amusing and high-spirited as a lighthearted true tale of a teenage con man, but notes it is overly complicated in structure, too long, and fails to explore the protagonist's character in depth. [Read](https://www.theguardian.com/film/2003/feb/02/philipfrench) - **Time Out**, GA (60/100, inferred): The critic finds it the director's most likeable film in ages but insubstantial and overlong. Praises the jaunty mix of suspense, romance and comedy along with strong performances, elegant camerawork and agreeable score while noting the superficial treatment and conventional ending. [Read](https://www.timeout.com/movies/catch-me-if-you-can) - **Screen Daily** (50/100, inferred): Describes an accomplished but somewhat soulless offering with customary polish, fast-paced and stylish with a wildly charismatic DiCaprio performance. Praises the lavish 1960s authenticity and production values but criticizes the family angle and moral rectitude that removes the amoral sting. [Read](https://www.screendaily.com/catch-me-if-you-can/4011561.article) - **RogerEbert.com**, Roger Ebert: The film is an effortlessly watchable story of a precocious con man whose impersonations succeed through charm and quick thinking. The critic singles out Leonardo DiCaprio's breezy, charming performance as the young Frank Abagnale for praise. [Read](https://www.rogerebert.com/reviews/catch-me-if-you-can-2002) - **The New York Times**, Stephen Holden: Spielberg's film is a supremely entertaining portrait of a virtuoso impostor that finds depth in its lead performance and father-son themes. The critic singles out Leonardo DiCaprio's sensational, fluid portrayal of the chameleon-like con man for particular praise. [Read](https://www.nytimes.com/2002/12/25/movies/film-review-taking-to-a-gullible-world-like-a-mouse-to-swiss-cheese.html) - **Eye for Film**, Angus Wolfe Murray (75/100, inferred): The critic finds the film entertaining and stylish, praising DiCaprio's charismatic performance as the con artist and the overall fun, attractive portrayal of theft. They note the story's gaps and Spielberg's sentimental family focus but conclude it is never dull and looks good. [Read](https://www.eyeforfilm.co.uk/review/catch-me-if-you-can-film-review-by-angus-wolfe-murray) ## Details - **Director:** Steven Spielberg - **Director:** Steven Spielberg - **Screenplay:** Jeff Nathanson - **Cinematography:** Janusz Kamiński - **Editor:** Michael Kahn - **Music:** John Williams - **Production design:** Jeannine Oppewall - **Costume design:** Mary Zophres - **Producer:** Steven Spielberg, Walter F. Parkes - **Cast:** Leonardo DiCaprio as Frank Abagnale Jr.; Tom Hanks as Carl Hanratty; Christopher Walken as Frank Abagnale; Martin Sheen as Roger Strong; Nathalie Baye as Paula Abagnale; Amy Adams as Brenda Strong; James Brolin as Jack Barnes; Brian Howe as Earl Amdursky - **Runtime:** 2h 21m - **Certificate (MPA):** PG-13 - **Release (the US):** 25 December 2002 - **Genres:** Drama, Crime - **Budget:** $52 million - **Box office:** $352 million - **Trailer:** https://www.youtube.com/watch?v=71rDQ7z4eFg ## Where to watch in the US - Paramount+: streaming - The Roku Channel: add-on, hd - Amazon Prime Video: add-on, uhd - Apple TV: add-on, uhd - Amazon Prime Video: rent $4.99, hd - Apple TV: rent $4.99, hd - Amazon Prime Video: buy $14.99, hd - Apple TV: buy $14.99, hd *Checked 2026-09-14.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HU, ID, IE, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2003: Best Original Score (nominated); Best Supporting Actor (nominated) ## If you liked this - *The Lady Eve* (1941), Fi1m 90: For another fraud whose charm makes good judgement seem an inconvenience. — [Fi1m page](https://film.one/film/the-lady-eve.md) - *Paper Moon* (1973), Fi1m 86: Another young swindler, with family feeling that never quite becomes respectable. — [Fi1m page](https://film.one/film/paper-moon.md) - *Nine Queens* (2000), Fi1m 83: Two conmen test each other’s nerve in a brisk, suspicious partnership. — [Fi1m page](https://film.one/film/nine-queens.md) - *The Talented Mr Ripley* (1999), Fi1m 80: For a colder look at impersonation and the hunger to belong. — [Fi1m page](https://film.one/film/the-talented-mr-ripley.md) - *The Imposter* (2012): A documentary about impersonation that makes the desire to believe deeply uncomfortable. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/catch-me-if-you-can