Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…
Planes, Trains, and Automobiles
What he really wanted was to spend Thanksgiving with his family. What he got was three days with the turkey.
A man must struggle to travel home for Thanksgiving, with an obnoxious slob of a shower ring salesman his only companion.
I really hate this film.....
BECAUSE EVERY TIME I SEE IT, IT MAKES ME SO HAPPY AND THEN I WANT TO DANCE, BOOGIE WOOGIE, DO SOMERSAULTS AND BACKFLIPS, POP AND LOCK AND EVEN A TWIRL AND A FAME JUMP OR TWO BUT I CAN'T BECAUSE I'M BUILT LIKE AN ELEPHANT AND HAVE THE MOTOR SKILLS OF A PREGNANT HIPPO!!!!
And I really, really miss John Candy....
The Jerk and Uncle Buck as the oldest looking teenagers to ever star in a John Hughes coming-of-age-road-trip film. A taxi race with Kevin fuckin' Bacon. The first time you see John Candy's facial expressions. A bitchy flight attendant. A semi-boring sounding Ben Stein. Shower-curtain-rings are fuckin' cool. A million bucks short of being a millionaire. Hypoallergenic pillows. Extreme-sinus-cleaning. Waking up next to Del. Those aren't fuckin' pillows! A broken train. A yabba dabba doo bus ride. The invisible automobile. The fuckin' rental-car counter. You're fucked! An autographed Daryl Strawberry earring. Being grabbed by your dick. Precious moments don't come back. Almost hitting a deer. A car-honking contest. You're going the wrong fuckin' way! Two dollars and a Casio watch. A melted speedometer. Del knows a lot of fuckers. Realizing family is everything. Funny as fuck. Steve Martin is gold. John Candy is fuckin' hilarious. Fuck, I miss him. RIP Mr. Candy. RIP Mr. Hughes.
Planes, Trains and Automobiles is classic John Hughes: The 80's soundtrack plastered over every scene, the risible and preposterously entertaining scenarios and of course, the introduction of sentimentalism that inconsistently succeeds. Hughes's distinguishable style is never seamless, but he sure knows how to fabricate an enjoyable jaunt, even if that jaunt is disjointed in its execution.
Neal Page has one modest wish for the thanksgiving holidays; to see his family. To do this he must catch a plane; seemingly simple task. However, as the title indicates, problems arise and he will have to board some trains and automobiles too. Indeed, he is not alone on this distressing expedition -- Del Griffith, a scruffy but munificent chap offers a hand and…
John Hughes' "Planes, Trains, and Automobiles" finds the director leaving behind his typically youthful characters and focusing on a new breed of comic ne'er-do-well: the adult business man. Combining road trip comedy with odd couple shenanigans, '80s gloss, and a note of absurdity, Hughes' observation of Murphy's Law taking its toll on the aformentioned adult is a rich, layered, and wholly lovable piece of work.
"Planes, Trains, and Automobiles" is built around one man's attempt to get home for the Thanksgiving holiday and his consistent predicament of bumping into a bumbling yet kind Midwest salesman. Anything that could go wrong does as the two schlep hilariously toward Chicago from New York. The story is universal, the comedy is textured, and…
"If I wanted a joke, I'd follow you into the john and watch you take a leak".
Heartfelt, relateable and hysterically funny, Planes, Trains & Automobiles is a film I keep returning to, often when I'm down in the dumps as it holds a very curative effect.
The magical fusion of physical + situational humor, performed by two of the most brilliant comedic geniuses who have ever walked the planet, worked wonders this time too.
Top notch laugh riots are still being made in this day and age, but I doubt we'll ever have the pleasure of one as perfect as this one again.
I mean, Jonah Hill and his likes are funny n' all, but they're no John Candy.
Review In A Nutshell:
Planes, Trains and Automobiles marked as a large turning point for John Hughes, a figure of the 80s decade that conveyed honesty in his depiction of a teenager, an approach that elevates his masterpieces above the barrage of copycats that plagued its era. Ferris Bueller was the end of his High School nostalgia; from there his films have taken a more mature route that aims to cater to a more sophisticated and understanding audience. It was here in his 1987 collaboration with Steve Martin and John Candy with the backdrop of the Thanksgiving holiday that he has created another near perfect feature that carries far more dramatic weight than one would anticipate from its suggestive poster…
I love a lot of the classic comedies made between the 20s and the 50s, and I also love the recent crop of comedy from Judd Apatow, Kevin Smith, and Sacha Baron Cohen but for the life of me I seem never able to find the funny in the “classic” comedies of the late 70s and early 80’s. Comedy is of course a subjective thing, if something tickles your funnybone nothing anyone can say will dissuade you from believing it’s funny and vice versa. The thing is that a lot of these movies from the 80s are just brutal experiences if you don’t happen to think they’re funny. That’s why I’ll probably go to my grave insisting that Caddyshack, The…
i enjoyed this much more than breakfast club and ferris bueller.
Presenting the film's mutiple elements through the characteristics of the two characters - one of whom is a personification of the belief in a beatified world, devoid of any obstacles, along with another who's the personification of derailment from the beatified, who leads to the former's acceptance of the concept of tolerance, as well as deviation throughout multiple occurrences that define them both - John Hughes crafts an insightful look into the outcomes of glamorization, along with change, represented by the two aforementioned characters, who're impeccably portrayed by Steve Martin & John Candy, as they slowly define themselves, as well as the naturalism of allowance, through the several occurences that take place in the eponymous locations, as they're backed by Hughes' trademark 80s soundtrack.
Absolutely succeeds in walking this fine line between being sort of realistic and ridiculously goofy; the comedy rarely (if ever) detracts from the emotional impact because it stems from the traits of these two lovable characters. That's also the reason it totally earns it's ending, which I found to be one of the most emotionally powerful I've seen, and a huge part of it is because of the song, which is beyond awesome.
This film is amazing. It's one that I can pull out any time any where and it still makes me laugh.
I like the bit where John Candy turns into the devil.
Planes, Trains and Automobiles is a smartly written comedy starring Steve Martin and John Candy who bring not only the laugh and absurdity (and trust me, there's a lot), but also the heart and humanity which makes this holiday classic very special.
Car Rental Agent: Welcome to Marathon, may I help you?
Car Rental Agent: How may I help you?
Neal: You can start by wiping that fucking dumb-ass smile off your rosy, fucking, cheeks! And you can give me a fucking automobile: a fucking Datsun, a fucking Toyota, a fucking Mustang, a fucking Buick! Four fucking wheels and a seat!
Car Rental Agent: I really don't care for the way you're speaking to me.
Neal: And I really don't care for the way your company left me in the middle of fucking nowhere with fucking keys to a fucking car that isn't fucking there. And I really didn't care to fucking walk, down a fucking highway, and across a…
Complete list. :-(