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No matter where you are on your journey, the meanders past, present and still to come, you'll take something from this endearing tale about an elderly man and his adventures on a very long journey to see his brother by mini tractor. Meeting and interacting with numerous people on his way, who each have a relatable story to share, along with a few the old timer shares with us - you're left feeling reflective on your own directions, what they mean and where it is they're taking you, and those around you too. Beautifully performed, filmed and scripted, it's never too late to rebuild bridges broken, or indeed, build new ones into the future.

A beautiful and very emotional "Harry and Tonto"-styled movie experience as Oscar-nominee Richard Farnsworth (playing the real-life Alvin Straight) decides to travel on his old riding John Deere mower from Iowa to Wisconsin to see his ailing brother (Harry Dean Stanton) because his driver's license has been revoked, he doesn't like public transportation and he has no one else to drive him. The two brothers have not been on speaking terms for many years and now the clock is literally ticking on one last chance for them to see one another and hopefully make amends for past mistakes. Sissy Spacek gives one of her finest performances as Farnsworth's slightly mentally retarded daughter and the supporting players are all real and heartfelt caricatures of America's heartland. Outstanding film-maker David Lynch (to me the finest living American director, along with Martin Scorsese) goes totally out-of-character with a 180-degree turn from whacked triumphs like "The Elephant Man", "Blue Velvet", "Twin Peaks: Fire Walk With Me" and "Mulholland Dr.". He quietly and methodically creates a G-rated family film that has deep messages for people of all ages and backgrounds. He paints a picture of America where the old ways of life are still the most important. Farnsworth (who is a total revelation) was in excruciating pain throughout filming due to terminal cancer and terrible arthritis. Notice he stands very little in the movie and he is almost always filmed from the waist up. Sadly this would be his final performance as he committed suicide shortly after his Oscar nod. He did become the oldest nominee ever in the Best Actor category, but really that will become trivial as time passes and his role will be the thing that shines brightly forever. Truly a legacy production for all involved. 5 stars out of 5.

Alvin Straight is a 73-year-old Veteran living in Laurens, Iowa with his daughter Rose. Though Straight can barely walk, he refuses a Zimmer frame, opting instead to make use of two canes to get around. One day, Straight discovers that his estranged brother Lyle- who lives some 240 miles away in Wisconsin- has had a stroke and is near death's door. Having no automobile but wanting to see his brother, the strong-willed Straight decides to use his lawn-mower to make the journey, despite the daunting nature of the task. On an odyssey through the American countryside, will Straight make it all the way to Wisconsin before his John Deere breaks down?

Based on true events, David Lynch's 'The Straight Story' is a beautiful film that works as a lyrical ballad for the American landscape and a moving character study both. John Roach and Mary Sweeney's screenplay weaves a powerfully unaffected tale that speaks volumes about the human condition. Like Hemingway, the dialogue is simple and profound, and the story full of subtleties. As Straight embarks on his quest, we learn of his life- as well as the lives of the characters he encounters along the way- and the film becomes a tapestry of American Midwestern existence.

Containing much warm-humor and genuine drama, 'The Straight Story' is Lynch's least abstract film and arguably his most emotionally percipient. As Straight plods ever onward, his mower straining over hills, the simplicity of the central narrative disappears, and the film becomes epic in scale. Like a Greek tragedian, Lynch uses Straight's story as a canvas to explore human nature, connecting with the audience on a deeper, more profound level. By the time the credits roll, viewers will have gone on an emotional journey as lengthy and impactful as Straight's 240-mile quest; and one just as memorable.

Often, Lynch uses the same core crew for his films, and 'The Straight Story' reunites him with many of them; cinematographer Freddie Francis being just one. Francis captures the majesty of the American landscape incredibly, putting one in mind of the work of Néstor Almendros and Haskell Wexler from Terence Malick's 'Days of Heaven.' With amber waves of grain rippling like an ocean in the wind, red barns erupting from yellow cornfields, the night sky draped in starlight sitting over the world like a crown; the film is a visual feast.

Lynch has stated that a successful film is comprised of "sound and image flowing together through time," positing that, in scenes, visuals and sounds must complement each other; as they do masterfully throughout 'The Straight Story.' The late, great Angelo Badalamenti's score is haunting and melodic, tonally matching Francis' visuals perfectly. The film's stunning marriage of sound and image is unforgettable and evocative work, held together adroitly by Lynch and Sweeney's unobtrusive editing.

'The Straight Story' stars Richard Farnsworth as Alvin Straight, delivering a tour de force performance of great emotional sagacity and depth. He is completely authentic and utterly charming, carrying with him a mournful air that is most affecting. Throughout his decades long career, Farnsworth gave some terrific performances in a variety of projects. Whether in 'Comes A Horseman,' 'The Grey Fox,' or 'Misery;' he was always believable, often making his fellow actors look mannered and forced through his ease of performance. As Straight, he never puts a foot wrong; turning in what may be one of the finest, most subtle pieces of acting ever captured on film. That he didn't win the Academy Award for his efforts is frankly shameful, and a testament to the fact that the Academy more often than not get it wrong.

All from the supporting cast do commendable work, with Sissy Spacek impressing greatly as Straight's daughter Rose, who has some sort of learning difficulty. Spacek doesn't overdo the eccentricity of her character, giving a very measured and thoughtful performance that is a highlight of her filmography. Additionally, Harry Dean Stanton has a short but unforgettable scene where he demonstrates in thirty seconds the boundless depth, range and pure acting prowess that endeared him to so many; and just may leave you in tears.

Powerful and poignant, David Lynch's 'The Straight Story' is- for all intents and purposes- a flawless piece of filmmaking. With a strong screenplay from Mary Sweeney and John Roach and captivating cinematography from Freddie Francis- not to mention the great score from Angelo Badalamenti- it is brilliant from start to finish. Featuring impactful performances from the likes of Sissy Spacek and Harry Dean Stanton, and anchored by a career best Richard Farnsworth; 'The Straight Story' is about as close to perfect as a film can come.

This is not a movie for fans of the usual eerie Lynch stuff. Rather, it's for those who either appreciate a good story, or have grown tired of the run-of-the-mill stuff with overt sentimentalism and Oprah-ish "This is such a wonderful movie! You must see it!"-semantics (tho' she IS right, for once!).

The story unfolds flawlessly, and we are taken along a journey that, I believe, most of us will come to recognize at some time. A compassionate, existentialist journey where we make amends för our past when approaching ourt inevitable demise.

Acting is without faults, cinematography likewise (occasionally quite brilliant!), and the dialogue leaves out just enough for the viewer to grasp the details od the story.

A warm movie. Not excessively sentimental.

Whenever I hear a movie being touted because it has no sex, violence, bad language, special effects, and so on, my b.s. detector goes off. Usually, a movie like that is sentimental hogwash which panders to people who don't want anything to surprise them, but to affirm how superior they are to us craven folk. So when David Lynch's THE STRAIGHT STORY began getting those kinds of reviews, I was apprehensive, especially since I was not a fan of his other "uplifting" story, THE ELEPHANT MAN. For all the stunning images and the good acting in that film, it seemed more interested in preaching to us than inspiring us.

I needn't have worried. THE STRAIGHT STORY is an honest movie rather than a saccharine one. Most of that is due to the fact that Lynch and writers John Roach and Mary Sweeney tell it straight and simple for the most part. There are a couple of homilies by Straight I could have done without, and the shots of grain being harvested are repeated a little too much, but those are only quibbles. There's no heavy-handed message, no sentimental strings to jerk our emotions, and no condescension towards us and its characters. Instead, they depend on the story to build its own power, and it does, so by the final scene, we are genuinely moved.

Of course, casting Richard Farnsworth adds realism to the part. He really is someone who looks like he's lived through a lot but still perseveres, and except for those homilies, the desire he has to get back together with his brother doesn't seem overly sentimental, because you can sense here is someone who's lived too long and seen too much to be driven by anger for long. And he knows his time is running out, so he wants to make some peace, not only with his brother, but with his life. Sissy Spacek also does fine, unmannered work as Straight's daughter. And although I am a city and suburban boy, the Iowa and Wisconsin landscape are beautifully shot, making me want at least to visit some day.