Comedy, Chaos, and an Unexpected Heart

Read Time:4 Minute, 16 Second

MOVIE REVIEW
Uncle Buck (4KUHD)
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Genre: Comedy
Year Released: 1989, Kino Lorber 4K 2025
Runtime: 1h 40m
Director(s): John Hughes
Writer(s): John Hughes
Cast: John Candy, Macaulay Culkin, Jean Louisa Kelly, Gaby Hoffmann, Amy Madigan, Laurie Metcalf, Mike Starr, Garrett M. Brown, Elaine Bromka
Where To Watch: available February 18, 2025; pre-order your copy here: www.kinolorber.com or www.amazon.com

RAVING REVIEW: UNCLE BUCK is a prime example of a film that thrives on the unpredictability of an overgrown man-child forced to become a responsible adult. (no, it’s not about the current US president.) John Hughes, known for crafting some of the most memorable coming-of-age stories of the '80s, takes a different approach here, centering the story not on angsty teens but on a reluctant guardian who might just need some growing up himself. The result is a wildly entertaining blend of humor, sharp dialogue, and the undeniable charisma of John Candy, who turns even the simplest comedic setups into gold.

The premise is straightforward but full of potential: an unreliable, fun-loving uncle is in charge of three kids while their parents deal with a family emergency. His lack of experience and unconventional parenting style predictably lead to mishaps, misunderstandings, and moments of pure comedic brilliance. What makes it work isn’t just the concept but how it’s executed—leaning into absurdity while keeping a level of sincerity that elevates it beyond a standard comedy.

Candy owns this role, bringing his signature mix of lovable buffoonery and unexpected depth. His timing is natural, making even the most ridiculous scenarios feel grounded in character rather than forced gags. He has a way of making chaos feel endearing rather than frustrating. Without his performance, the film wouldn’t have the same lasting impact—his ability to play both the fool and the heart of the story keeps everything clicking.

The film’s success also hinges on the chemistry between its characters; thankfully, the cast delivers. The tension between the title character and his teenage niece drives much of the narrative, with Jean Louisa Kelly bringing just the right amount of teen angst and rebellion to her role. Her interactions with Candy make for some of the strongest scenes, blending humor with an underlying emotional weight that keeps the film from feeling too lightweight. Meanwhile, a young Macaulay Culkin steals several scenes, particularly in a now-iconic rapid-fire interrogation that shows hints of his future success.

Where the film excels in comedy, it occasionally stumbles in structure. Some subplots feel underdeveloped or unnecessary, diverting attention from the core story without adding much in return. The film flirts with deeper themes about responsibility and personal growth but never fully explores them, opting to keep things light and breezy. That’s not necessarily bad—it knows its strengths and plays to them—but focusing more on the character’s evolution could have strengthened the emotional payoff.

The film sticks to Hughes’ signature suburban aesthetic, keeping things simple and familiar. The focus is always on the performances rather than elaborate cinematography or set pieces, which works given the film’s character-driven nature.

Compared to Hughes’ more iconic works, this one leans heavier on broad comedy than introspective storytelling. Some of his films dissect teenage struggles with an almost poetic sense of realism, but this one is more interested in delivering laughs and a feel-good message. That’s not a flaw, but it means those looking for something deeper might find it less impactful. However, as a straightforward comedy, it more than delivers, proving that Hughes’ talent extends beyond teen dramas.

The humor holds up well decades later, largely thanks to Candy’s performance and the timeless appeal of its premise. It’s one of those comedies that doesn’t need to be perfect to be great—it just needs to make you laugh, and in that regard, it succeeds.

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[photo courtesy of KINO LORBER]

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