So much average

Absolutely the worst movie.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Somehow over the years I managed to miss this cinematic masterpiece, but today my luck ran out. I am amazed how such a stellar cast would be a part of one of the most disjointed, horribly produced, and cheesy flicks of all time. Like a slow-motion train wreck, I couldn't take my eyes off it. Just gawd arful.

"Grand Canyon" (1991) is essentially about the 'grand canyon' that exists between the races and the haves & have-nots in America. It starts out powerfully with middle-aged lawyer Kevin Kline taking an unwise detour in L.A. and breaking down on the bad side of town; the situation turns threatening when a group of thugs harass him, but a tow truck driver comes to his aid (Danny Glover). Thus begins a relationship that positively impacts both of their lives and the lives of those connected to them.One subplot involves Kline's love/lust for women (like any red-blooded male). He and his wife (Mary McDonnell) are experiencing the empty nest syndrome; he naturally veers toward an affair at work. There's an early scene where the potential "other woman" (Mary-Louise Parker) comes into his office at work and puts her hand on his. It's a simple yet potent scene. Is it wrong for Kline to have feelings for this woman? Should he risk destroying his marriage by pursuing a more intimate relationship? And, if he does commit adultery, can he still change his mind before it's too late? Will he?That's just one subplot amongst many. Some reviewers feel there are TOO many stories going on. I suggest they stick to lighter fare, like maybe "RV" (giggle).Anyway, some themes explored include:Miraculous life-saving encounters. - White/black relations. - The rich/working class/poor divide. - Homelessness. - Why do kids join gangs/become hoodlums? - The challenges of a 20-year nigh romance-less marriage. - The drive to improve one's living standards. - Does violence in film escalate violence or is it simply a reflection of society? Does a filmmaker have a moral responsibility to society? - Life-changing experiences that aren't so life-changing after all. - How many split seconds do you have to make a left turn in downtown traffic? - What do you do after miraculously finding/saving an infant? - Divine intervention. - Matchmaking, blind dates and finding Mr. or Ms. "right." - The ripple-effect each person's actions have on others, revealing humanity's significance, which is contrasted by the idea that humanity is inconsequential compared to the Earth & universe's timeless marvels, like the Grand Canyon itself.The picture obviously bites off a lot, but is well able to chew it. It bespeaks of real life and doesn't come off contrived at all. Take for example the teenager's driving lesson: He makes a serious mistake and then pulls over. After his father explains a few things he attempts to start the vehicle which is ALREADY running. We've all done that. Another example would be Steve Martin's beautiful redhead girlfriend Vanessa (Sarah Trigger): She's calm, happy and pleasant one moment but then suddenly starts crying (obviously provoked by a statement). A rambling and uncomfortable emotional rant ensues. It's real. Another example would be McDonnell's reaction when her son asks if she and Kline are getting a divorce. Completely shocked, she asks, "Why would you ask that?! Do we seem like a couple on the verge of divorce?" She KNOWS that her son wouldn't ask such a question unless he sensed there were problems in the marriage on some instinctual level. These are just three minor examples off the top of my head.I've heard some complain that there's no humor. Did we see the same movie? There's actually quite a bit of humor or, at least, amusing and light-hearted moments. (How could there not be with Steve Martin in the cast?). Even though the picture is essentially a serious drama I busted out laughing, snickering or smiling on quite a few occasions. The film delivers in this department. Plus it's realistic humor, not contrived.Scanning through the reviews you'll note that "Grand Canyon" is a love it or hate it piece. I love it. The acting is, for the most part, great and you really come to care for the characters; you care about the outcome of each of the story lines. One reviewer commented that "Grand Canyon" is a depressing film; he couldn't be more wrong. Yes, there are some disconcerting story elements, but watch it till the end! Other reviewers criticize Steve Martin, who has a beard and plays a filmmaker. These people need to get a life; Martin was perfect for the role.A couple things I appreciate about "Grand Canyon" is that it respects the intelligence of the viewer; it's not dumbed-down, nor is everything spelled out. Some things you simply have to read in-between-the-lines, others are left to the imagination. It also provokes you to ponder the numerous issues it addresses for DAYS afterward. Few movies have this effect. In fact, there's so much to "Grand Canyon" that you'll get something new from the picture with each viewing. Oh, about the New York Times critic that lambasted "Grand Canyon" as the worst movie ever made (Why sure!): First of all, who cares what some moron at the NY Times says? The very fact that he writes for The Times tells you that his artistic judgment shouldn't be taken too seriously.Also, most critics hailed 2004's "Crash" as a masterpiece but it obviously borrowed much from "Grand Canyon." The difference is that the latter is the better film. Although "Crash" has its merits "Grand Canyon" is more entertaining and has a more positive vibe.FINAL WORD: "Grand Canyon" is a film of the most eminent order; a masterpiece.GRADE: A+

I'm almost sure Paul Haggis got his idea for his film Crash, from this film. Both are really the same in many ways, Crash is a little better of a movie than Grand Canyon in the way that it's presented, and because of the more profound moments that are presented in it(Crash). But honestly Grand Canyon is just as good. Crash just happened to be made at the height of political correctness, at the height of the Al Sharpton era, ergo Crash wins the Academy Award for Best Picture where as Grand Canyon only gets an Academy Award Nomination for Best Screenplay. Times were different when Grand Canyon came out in 1991 then when Crash came out in 2005(Plus I don't think the Academy wanted to see a Homosexual Cowboy Lovestory win best film, even though we all know, It's 10 times better of a film than Crash is, that movie being Brokeback Mountain of course). I won't really get much into Grand Canyon because if you've seen Crash, then it's all said right there. Lot's of Concepts, lot's of things being said that are contrived, etc, etc. One thing I will touch on though is the best scene in the movie Grand Canyon. The best scene in Grand Canyon is with Jeremy Sisto's character and Kevin Kline's character, Kline is Sisto's father in the film. Kline is teaching Sisto how to drive and Sisto makes a big boo boo while driving and they almost get in a big car crash, but they don't and Kline patiently tells Sisto to pull over. I think this is a scene that is greatly over looked. I know with my dad, he would have been yelling and screaming at me if I almost got in a car accident. And as we don't want to be push-overs to our kids, there needs to be a balance, a moderation. What's brilliant about the scene is it speaks volumes about Kline's character as a father. Sisto's character in the movie, is a smart, kind- hearted kid, with a good head on his shoulder. Kline's character isn't a hot head, he's very calm and patient, but no push-over either, and that's why Sisto has such a good head on his shoulder and doesn't overly stress out ever because he's been raised with very good parents. They say kids pick things up mentally for the rest of their life between the ages of 6-8 years old. I know when my dad yelled at me for doing something wrong that i hadn't learned yet between the ages of 6-8 years old, later in life, I have always stressed out if i do something wrong, and I always expect to be yelled at. Not a good feeling to feel nor should one feel the need to feel that way. It's obvious that Kline's character never yelled at his son like my dad did when Sisto's character was between 6-8 years old because if Kline's character had, that scene in the car with Sisto almost crashing it, would have gone down with Kline's character castigating Sisto and Sisto stressing out with sadness, anger, resentment, that leads on to things later in life with always feeling you have to be perfect, feeling like you can't make a mistake or you'll get yelled at, walking on eggshells, and then perhaps leading further down the road in life to anger management and PTSS, you name it. That stuff messes up kids. Not saying Kline's character is husband of the year, he has an affair in the movie, and he's quite lucky his wife and kid(Sisto) didn't find out or that could have had catastrophic effects on both his wife and son, but other than that mistake, Kline's character is a good husband and a great father. If nothing else from this movie, I think we can all learn to be better parents, to raise our kids better in a more constructive manner than in a reactive manner after watching this film. Also, Steve Martin is terrific in this one as well, and Danny Glover is always likable, perhaps one of the most likable actors in history. If you liked Crash, you'll like this one, if you didn't, then you might or might not like this one.

Lawrence Kasdan directs "Grand Canyon", a sprawling ensemble piece which recalls such films as "Magnolia", "Crash", "Short Cuts" and "City of Hope". With the exception of "Short Cuts", these films tend to be very contrived, filled with strained connections and spending much of their time making laboured points about fate, fragility, coincidence and the interconnectedness of life.Though better written than its imitators, "Grand Canyon" does the same thing. Set in Los Angeles, the film glides gracefully across a set of characters, all of whom share common experiences despite their different economic strata, ages and racial backgrounds. Though at times unfocused, the film is ambitious and contains a number of well written sequences, including one in which actor Kevin Kline describes the moment a stranger saved his life. Another scene, in which a father and son share a driving lesson, is particularly beautiful. It points to life's precariousness, the way every mundane activity carries with it both risk and bravery, as well as the infinite number of little "miracles" which occur everyday.On another level, "Canyon" is a "white, middle-class, suburban disaffection movie" in the vein of "American Beauty", "The Ice Storm", "Safe", "Far From Heaven" and "Happiness", most of which were released in the mid 90s. "Canyon", however, predates them all, and is resolutely upbeat. Where those films tend to end in violence, disillusionment and disaffection "Canyon" ends on a note of almost naive optimism. And while most of these films focus on a white, middle class, "Canyon" jumps from the staggeringly rich, to the middle class, to ghetto-trapped African Americans. Another distinction is Kasadan's direction itself, which isn't afraid to drop into surreal territory. The film includes several extended dream sequences, one of which recalls the Coens' "Big Lebowski", another LA flick."Canyon" indulges in two recurring metaphors or motifs, that of "The Grand Canyon" and that of permanently patrolling helicopters, the latter resembling the "med fly" aircraft of Altman's "Short Cuts". Kasdan's point: man is utterly inconsequential when stacked up against a universe that is simultaneously vast, beautiful, horrific, malevolent and seemingly time-less. Elsewhere Kasdam's patrol helicopters offer a mixed sense of guilt, danger and perhaps cosy communal safety, the world presumed dangerous, but rendered navigable alongside the watchful eyes, or even miracles, of others."Canyon" isn't as good as "Short Cuts", but it is better than all the other "ensemble movies" and "disaffection dramas" that came later. In terms of flaws, all of Kasdan's characters speak the same, regardless of their economic standing. The film is also at times very heavy handed, condescending and has that typically overproduced look of early 90s Hollywood.7.9/10 – There are a number of great scenes here, but the film can't sustain these highs. Worth one viewing.