Grand Canyon revolved around six residents from different backgrounds whose lives intertwine in modern-day Los Angeles. At the center of the film is the unlikely friendship of two men from ... See full summary »
After the death of his son, Macon Leary, a travel writer, seems to be sleep walking through life. Macon's wife, seems to be having trouble too, and thinks it would be best if the two would just split up. After the break up, Macon meets a strange outgoing woman, who seems to bring him back down to earth. After starting a relationship with the outgoing woman, Macon's wife seems to think that their marriage is still worth a try. Macon is then forced to deal many decisions Written by
Justin Sharp <firstname.lastname@example.org>
After returning from England, Macon reaches into his pocket for his keys twice. See more »
[On a plane]
I'm sorry I'm so fat. Name's Lucas Loomis.
You a - Baltimore man?
Me too. Greatest city on the earth. One of these seats is not really enough for me. The stupid thing is, I travel for a living. I demonstrate software to computer stores. What do you do, Mr. Leary?
I write travel guide books.
Is that so, what kind?
Well, guides for businessmen. People just like you, I guess.
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William Hurt gives one of the most intensely interior performances on record. He is indescribable moving. His emotional paralysis becomes the palpitating centre of this gorgeous Lawrence Kasdan film. I saw the film, when it first come out, on a big huge screen that allowed me the strangely unique privilege of entering a man's soul. In the surface, nothing. Less than nothing, William Hurt floats through his daily existence, surrounded by his quirky family, his wounded, distant ex wife but first and foremost, his impenetrable loneliness. The character never utters a word who could confirm that, and yet is there, ever present, if you look deep, deep into his eyes. The scene in which he almost lets himself go in Geena Davis's arms is as cathartic as anything I've ever seen in any modern American movie. A couple of days ago I saw it again on a normal TV screen and all of the above wasn't there. Still a gorgeous film, a funny, melancholic romantic comedy but what about the interior masterpiece of William Hurt's performance? Gone. Did I imagine the whole emotional ride? Possible but unlikely. I took my VHS copy to a friend's house with a phenomenal home entertainment centre and a massive screen. William Hurt's performance was back. His is a performance conceived and designed for the big screen. One hundred per cent cinematic. The TV screen is far too small to allow us into a man's soul. If you haven't seen it I urge you to see it but in a big screen, the biggest you can find. Now let me leave you with this little tip. Look into William Hurt's eyes when he is in the taxi in Paris and sees the boy, who reminds him of his own son, walking down the street. It is the best performances by an actor in one of my favourite film moments of all time.
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