THE STORY – This intimate new documentary explores the demons that legendary comedian John Candy carried with him, which may have precipitated his untimely death, while reminding us of his unique comedic talent.
THE CAST – John Candy, Macaulay Culkin, Dan Ackroyd, Eugene Levy, Steve Martin, Bill Murray, Catherine O’Hara & Martin Short
THE TEAM – Colin Hanks (Director)
THE RUNNING TIME – 113 Minutes
The first celebrity death I recall is that of John Candy in 1994. Others soon followed, like Selena and Kurt Cobain, but none felt as immediate to younger generations, of which I was then a part, as the ever-present Canadian comedian. He was in “Home Alone,” “Spaceballs,” “Uncle Buck,” and of course, “Planes, Trains & Automobiles.” For millennials, his passing was one of the earliest markers of a lost innocence. Now, more than 30 years later, a long-overdue documentary, “John Candy: I Like Me,” provides a chance to revisit that loss and perhaps release some of the grief we have carried with us.
For several years, the Toronto International Film Festival has opened with films celebrating Canadian connections. This year was no exception, and it is hard to imagine a choice more fitting than a film about one of Canada’s most beloved comedians, produced by another, Ryan Reynolds. A Canadian director might have completed the trifecta, but actor Colin Hanks is the one behind the camera here, delivering a mostly compelling, if carefully polished, portrait. Like many modern documentaries, “John Candy: I Like Me” wastes little time in promising audiences a glimpse at an icon, opening with quick clips of famous admirers. It is not always clear who among them will resonate most with today’s viewers. However, Catherine O’Hara, still a fixture in popular shows and films, may stand out more than other comedic legends who appear, including Eugene Levy, Bill Murray, Macaulay Culkin, and Steve Martin.
The film also devotes significant space to Candy’s family, his children, and his widow, who not only participate but shape the movie. Their personal photos, anecdotes, and insights offer an intimate look at a figure who was often enigmatic, even to those closest to him. Yet their involvement ensures the portrait is affectionate, sometimes at the expense of harder truths. Hanks’s muted directorial hand reflects a clear intent to honor their perspective. Tyler Strickland’s score, alternately playful and wistful, underscores both the audience’s enduring love for Candy and the deep longing his family continues to feel in the wake of his sudden passing. Movie clips, archival footage, and interviews weave together into a heartfelt, if straightforward, tribute.
One of the film’s most powerful aspects is its focus on the struggles Candy carried in private. In the pre-social media era, it was easier for celebrities to hide such vulnerabilities, but Candy’s were visible to many. Today, in the years since Robin Williams’ passing, audiences are more readily accepting that comedic brilliance often coexists with inner torment. Younger viewers may not realize how rare it was to see this side of a public figure in Candy’s time.
The documentary highlights his battles with weight, anxiety, and phobias. Behind that trademark smile and effortless timing lurked panic attacks and emotional lows that shadowed his professional highs. It is a familiar arc of celebrity tragedy, but one that remains moving when framed through Candy’s life. Perhaps most revealing is the film’s exploration of Candy’s family history. His father died young, also from heart disease, leaving an imprint of loss that followed John throughout his life. Even so, the documentary avoids casting villains or victims, with one exception: the media, whose coverage of Candy often magnified his pain. These moments provide some of the film’s rawest edges.
Beyond all this, “John Candy: I Like Me” is both heartbreaking and heartwarming. Candy’s humor remains fresh, and his movies are beloved as ever. The film makes you want to revisit his work, always a sign of an effective documentary. Yet the sadness lingers. It is not only that Candy endured his struggles, but that he channeled them into work that brought joy to millions. In doing so, he represented a kind of selflessness that feels increasingly rare today. Strickland’s score deepens this emotion, taking viewers from bittersweet smiles to full catharsis.
The film’s most memorable voice belongs to Macaulay Culkin, Candy’s young co-star in the John Hughes megahit “Home Alone.” As a child, Culkin was part of the generation most shaken by Candy’s sudden death. His reflections, shaped by innocence then and clarity now, are some of the most moving in the film. He recalls details with a vividness that even Candy’s family does not match, and his testimony gives the film its most poignant moments.
Still, the title itself delivers the sharpest blow. The line “I like me” is familiar to Candy’s fans, especially from “Planes, Trains & Automobiles,” when his character defends himself against Steve Martin’s harsh critique: “I like me, my wife likes me, my customers like me.” It is a tender moment in a film full of laughter, and a reminder that Candy’s characters were often underestimated, misunderstood outsiders who carried quiet dignity beneath their buffoonery. At the time, audiences may have seen that line as just good acting. Today, through the lens of this documentary, it feels like something more, a piece of John Candy himself shining through. That humanity, once hidden behind the jokes, now becomes the soul of “John Candy: I Like Me.”
