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3.6 out of 5 stars
Weekend (The Criterion Collection) [Blu-ray]
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3 of 5 people found the following review helpful
on May 1, 2007
Format: DVD
this film is full of good ideas. but theyre unstructured and ultimately unengaging. I like good ideas so im being generous with my four star rating.

like alphaville - i wish a daring film maker would have the guts to do a remake and develop this film until it reaches its true potential.

this film is more like a brilliant sketchpad than an actual work of art.

P.S. i noticed that the sex monologue was "inspired" by Bataille's Story of the Eye. and there were other areas seemingly inspired by Maldoror and Shaw's Man and SUperman.
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1 of 2 people found the following review helpful
on February 7, 2014
Format: Blu-ray
Some parts were funny, most of it was tedious and drawn out. First scenes of man and woman talking were BORING.
Had just watched Benuel's The Exterminating Angel" which i found to be equally disappointing. Back to weekend. As I was watching the movie, I read a review that gave a heads up that a live pig was killed at 90 minutes; so I just I didn't go any further. I always found "Breathless" to be over rated also. I like Vittoria de Seca(Umberto D) and movies like L'Eclisse, Nights of Cabria, Hiroshima Mon Amour. Most of all, I like Akira Kurosawa and Sanjit Ray. As for New Wave, most of it is strained and phoney in my view. Perhaps I really don't understand it, but I WONDER IF THAT WOULD BE WORTH THE EFFORT.
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25 of 40 people found the following review helpful
on September 1, 2005
Format: DVD
The extreme reviews here are very misleading; people either say it's the worst film ever made or Godard's best film. Don't believe either camp. If you're not an expert on Godard and/or 1960s avant-garde cinema, I could definitely see a person writing off this movie as "sheer pretentious crap", but that opinion would derive from a mixture of shock and ignorance. On the other hand, those who say this is Godard's finest work must be riding high on acid and Marxism themselves. The truth of the matter is that "Weekend", like every one of Godard's post-Anna Karina films, is more a flawed experiment than anything else: On occasion, interesting and thought-provoking, but more often static and didactic to the point of alienating the viewer rather than converting them. I respect Godard's attempt to create a new cinema built on "ideas" rather than "emotion", but in my opinion, he went too far in this direction. A piece of art devoid of any emotion is a hollow experience and don't we have enough of that in our crude, consumerist society? And as far as experiments go, much of what he was doing in "Weekend", he had already done and with vastly better results in "Pierrot le Fou". That film was a perfect balance between Godard the political-scientist and Godard the post-modern film-maker. Plus, "Pierrot le Fou" benefited by having Jean-Paul Belmondo and Anna Karina. They brought heart and humor to Godard's abstract explosion of ideas; a perfect symbiotic relationship between director and actor(s) that he never achieved again. "Weekend" starts off very promising with the sex dialogue and the long tracking shot of the traffic-jam, leading to a car-crash...but then it descends into a grating mess of dated ideology and too much dead space. You really wish Belmondo and Karina would pop in and show the cast they don't have to be mere nails to Godard's hammer.
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17 of 28 people found the following review helpful
on January 11, 2004
Format: VHS TapeVerified Purchase
Jean-Luc Godard's film Week End is loaded with his obsessions with outrageous characters, political and philosophical ideas, and so on, and many viewers have claimed this to be a full on political film. From what I could gather after seeing a poor yet manageable copy of this film, I saw that this is possibly his best effort in terms of abrasive, surreal though bravura directing. He leaves the camera on his characters, with their flaws almost shining off them (which serves as an asset in some scenes), and yet most of the time it feels like he's directing a comedy of these events- comedy of errors.
Consider the scene where the woman has the monologue in her panties and bra, how she leads up such telling, informatory details to a payoff that gives as a reminder of the Walken scene in Pulp Fiction (though he is the better actor). Or in other times the comedy is in the sense of a Godard satire of his past work - the traffic set piece(s) gets the viewer to feel in the mood of the car he so pacingly follows, even as it becomes relentlessly obnoxious and tense, and acts like every other driver on the streets of the cities of America.
However that, and a moment of argument over a corpse in the passenger seat (he cuts to the faces of the onlookers who happen to find such dialogue rather amusing), show by the time Godard reached this stage in his career he wasn't taking himself and his work 100 % seriously, though that's not to say that the element of the woman's path to guerilla-hood isn't a serious topic. For his art film die-hards he also uses a peculiar, non-linear style in story-telling- an added advantage for a week-end timepiece.
I'm reminded of Fellini (as I was while watching another Godard film of recent, Contempt) in one aspect of the picture, in terms of how he portrays his women- he can love them, ignore them, belittle them, or even glorify them in the most drastic of measures, but he can't control them. One also wonders if this is how he just makes it for his films, or if in real life the women of his life were really this (how do I put it) out-there.
The script occasionally veers off on it's tale of a couple going on a disastrous week-end out for stretches of poetry, discussion, things that don't have much to do with the story, and yet there's a catching, eccentric, melodic aura to these scenes and passages. These kinds of scenes make it perfectly clear that Godard has created an original work here, one that may put off audience members who "don't get it" or expect total sense in the outcomes. Certainly a movie made for it's time, country of origin, and target group.
To sum up my review let me put it this way - this is the kind of picture that would've heavily influenced The Doors.
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0 of 1 people found the following review helpful
on May 31, 2013
Format: DVDVerified Purchase
godard's bunuellian take on rich french families taking a weekend in the country. the scene with a young marxist couple crashing up against the rural mindset and a big tractor is choice, but the sequence that will go down in history is the single-take depiction of a traffic jam in the french countryside. c'est magnifique. that godard, he's at his best here (the hell with imDb's ratings of this--)
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0 of 1 people found the following review helpful
on January 11, 2013
Format: Blu-rayVerified Purchase
Feels like a premiere experience ... A terrific filmic transfer to Bluray by Criterion and wonderful supplements to top it off.
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0 of 1 people found the following review helpful
on December 14, 2013
Format: Blu-ray
TOP NOTCH ALL THE WAY!!! GREAT STUFF!!! AAAAAAAAAAAAAAAA++++++++++++++++++
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2 of 5 people found the following review helpful
on April 20, 2013
Format: DVDVerified Purchase
This movie is OK. However, it is certainly not one of Godard's best. It is one of his more political films in which he seems more inclined figurately to hit the viewer over the head with rather extremist views than to provide a very meaningful movie experience. If you are very interested in Godard as a director, as I generally am, it is worth watching just for a better understanding of his work. For someone with no particular interest in Godard, I would advise staying away from this one.
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2 of 5 people found the following review helpful
on October 8, 1999
Format: VHS Tape
Weekend is great. At times it seems a little too excentric and not the best movie I have ever seen, but overall a very original movie made by a master of moviemaking
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8 of 16 people found the following review helpful
on January 23, 2012
Format: DVD
After exploding onto the scene and trumpeting the arrival of the French New Wave with Breathless, Godard churned out about a dozen films throughout the 60s, bookending this period of influential French art house cinema with the brutally satirical Weekend in 1967. After that, he stopped making commercial films and instead concentrated entirely on out-there left wing projects that were not meant to make money but to carry his Marxist and existential philosophies to some undefined point beyond the horizon.

Weekend is a bizarre film that is meant to challenge conventional filmmaking in every way possible; the camera consciously creates a distance between the material and the viewers, violating the fundamental laws of camerawork (such as when to shoot close-ups, and at one point the camera tracks down the road a bit, stops on nothing, then tracks back to the main characters in a completely pointless diversion) and often occupying a faraway vantage point that records the nutty action in an ironically detached way. There is no real plot, other than the journey of two completely amoral sociopaths traveling through the French country side and encountering a series of surreal and sometimes fictional characters. Characters often break the fourth wall and at several points one character will ask another if he is in a film or in reality, laying the self-reflexive metafictionality of the narrative on a bit thick.

The movie is, at its core, a sharp criticism of capitalism that bounces some lofty left wing Marxism around in an aggressive but thoroughly uninspiring way. It aims to depict the apathetic malaise that is a pillar of the Western, capitalist way of life, a mode of interacting with the world that emphasizes conflict and exploitation and desensitizing media exposure. On a parallel track, Godard aims to take on cinema and art while attacking capitalism and Western culture. He loves classic Hollywood, that much is obvious, but his success and the success of the French New Wave seem to have convinced him that he was the Messiah of Modernism and so this film's goal is to be the final statement on traditional cinema. The ending self-importantly declares The End... of Cinema. It's a radical smorgasbord, both in the political note it strikes as well as the deconstruction of cinematic techniques.

If a random person had made this film, it would be considered total garbage. But because Godard happened to explode on the scene at the right time and has an enormous index of criticism to back him up, Weekend will forever be beloved by graduate students and other scholarly types who like to engage in abstract debates that have no answer. There are some very intricate tracking shots in this film including the justly famous 10 minute one-shot take on the car accident and the piano scene in the village square, and the ambitiousness of the film is respectable. But in the end it's only interesting as an intellectual game and not, unfortunately, as a movie.
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