Note from the editor: When you’re in the middle of making a film, you don’t always realize the impact it will carry or fully appreciate the experience as it’s happening. But looking back, my memories of John Candy are profound. I had the amazing opportunity to work with him on ‘Planes, Trains and Automobiles’, ‘Only the Lonely’ and ‘Home Alone’, and everything that is being said about him in the documentary ‘John Candy: I Like Me’, rings true. He was kind, sensitive, and completely approachable, just a truly decent person. Both on set and off. He was the real deal.
As the world prepares to revisit the life and legacy of John Candy in the upcoming documentary John Candy: I Like Me, streaming October 10 on Amazon Prime Video, a deeper portrait is beginning to emerge. Not just of a beloved funnyman, but of a deeply empathetic soul who quietly looked after others, even when the cameras weren’t rolling.
Directed by Colin Hanks and produced by Ryan Reynolds with the support of the Candy family, the documentary premiered to emotional acclaim at the Toronto International Film Festival (TIFF) on September 4. It features appearances and reflections from comedy legends and co-stars alike—Steve Martin, Catherine O’Hara, Dan Aykroyd, Bill Murray, Martin Short, and more. But among the most poignant tributes comes from someone Candy worked with when he was just a kid: Macaulay Culkin.
“He Was Just Looking Out for Me”
Before Home Alone made him a household name, 8-year-old Macaulay Culkin starred alongside Candy in the 1989 John Hughes comedy Uncle Buck. Culkin now reveals that, even back then, Candy sensed something wasn’t right behind the scenes.
“Even before the wave crested and the Home Alone stuff was happening, it was not hard to see how difficult my father was,” Culkin says in the film. “It was no secret. He was already a monster… I think John was looking a little side-eyed, like, ‘Is everything alright over there? You doing good? Everything good at home?’”
In a world that too often turned a blind eye to what Culkin describes as his father’s abusive and controlling behavior, John Candy was different.
“He was just looking out for me… I wish I got more of that in my life. I remember John caring when not a lot of people did.”
Beyond the Laughs
John Candy’s on-screen characters were often larger than life, blustering, bumbling, big-hearted. Whether he was playing Del Griffith, the lovable, annoying shower-ring salesman in Planes, Trains and Automobiles, Buck Russell, the reckless babysitter in Uncle Buck, or Gus Polinski, the Polka King of the Midwest who gets a mom home to her young son in Home Alone, he brought humanity to every role. But John Candy: I Like Me goes deeper, examining the man beneath the characters: his battles with insecurity, grief, anxiety, and the pressures of fame.
The title itself, taken from Candy’s vulnerable line in Planes, Trains and Automobiles: “I like me. My wife likes me.” is a quiet assertion of self-worth. In a world that often judged Candy for his weight or underestimated his depth, he found his strength not in ego, but in empathy.
A Legacy of Warmth
At TIFF, the documentary’s premiere was more than just a screening, it was a celebration of spirit. Canadian Prime Minister Mark Carney opened the festival by calling Candy “a true national treasure.” Ryan Reynolds, dressed in a suit embroidered with Candy’s hometown coordinates, paid tribute to the comedian’s enduring influence, not just on Hollywood, but on the Canadian identity.
And yet, it’s Culkin’s story that lingers, because it reminds us that John Candy’s greatest performance may have been off-camera: as a gentle giant who made people feel seen, heard, and safe.
Final Thoughts
In an industry, and a world, that often overlooks the quiet acts of kindness, John Candy’s legacy remains as relevant as ever. John Candy: I Like Me promises to bring the laughter, of course, but more importantly, it captures the depth of a man who made those around him feel valued.
He didn’t steal scenes. He showed up for people. He made a difference. And those who were lucky enough to be there, on set or in life, never forgot it.
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