Le Week-End

2013

Action / Comedy / Drama / Romance

52
Rotten Tomatoes Critics - Certified Fresh 88%
Rotten Tomatoes Audience - Spilled 56%
IMDb Rating 6.3 10 6912

Synopsis


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Downloaded 41,427 times
August 04, 2014 at 10:18 AM

Director

Cast

Jeff Goldblum as Morgan
Olly Alexander as Michael
720p.BLU
750.13 MB
1280*720
English
R
23.976 fps
1hr 33 min
P/S 2 / 13

Movie Reviews

Reviewed by rps-2 7 / 10

We can identify!

My wife and are seniors. We find most comedies meaningless because they are crafted for a 35-40 year old audience. But this is a film a senior can relate to and enjoy. A senior couple from Birmingham takes the Eurostar to Paris for the weekend to celebrate their anniversary. Like my wife and me, they are in love and dependent on each other. But they still argue, bicker and disagree. I'm not sure if it's a comedy, a drama, a senior skin flick or an adventure film. There's a little bit of each. But it goes in some original directions and takes some unique twists. If you are 20 years old, you will neither enjoy nor understand this film. If you're, say, past your 25th. wedding anniversary, you're sure to find situations in the story that you and your spouse have experienced in your own marriage. It's a bit different but interesting, informative and entertaining. My only criticism is the frequent and unnecessary use of the F-word, all the more unlikely since the husband here is a cultured academic.

Reviewed by mwpm 6 / 10

Tourism Ad

A new genre of film is emerging. Hollywood is trying to sell them as the offspring of "Roman Holiday", but in reality they are nothing more than extended tourism advertisements. Whether its Julia Roberts in "Eat Pray Love", Steve Coogan & Rob Brydon in "The Trip" trilogy, or Diane Lane in "Paris Can Wait", the protagonist is compelled to travel, and their travels are accompanied by sight-seeing and food sampling. Whereas "The Trip" trilogy is honest about its advertising, films like "Eat Pray Love" and "Paris Can Wait" try to veil it under a thin plot. "Le Week-End" belongs to the same category as "Eat Pray Love" and "Paris Can Wait". Like "Eat Pray Love" the couple of "Le Week-End" pursue travel as an answer to their problems (in both cases, the problem is an unhappy marriage, but whereas "Eat Pray Love" follows a middle-aged woman escaping their marriage, "Le Week-End" follows an older couple firmly trapped in their marriage and seeking rejuvenation). The audience is compelled to ask: "Why travel? Why not a marriage counsellor?" Ostensibly, they have chosen travel because they have watched too many film like the one they are starring in. The true nature of a film like "Le Week-End" is revealed in the scenes that forego character and plot development for the sake of sight-seeing and food sampling. These scenes always included impressive shots of the architecture (here the Eiffel Tower, there the Louvre). And, despite their lack of substance, they are drawn out and indulgent (Lindsay Duncan samples a glass of wine, turns to Jim Broadbent, says, "That's the nicest thing I've ever put in my mouth"). The couple (and the film) is finally rejuvenated by the arrival of Jeff Goldblum. Need I say more? In closing, I don't know why I expected more from "Le Week- End". It's a Hollywood film like any other, and Hollywood has been increasing the presence of product placement in its films ever since E.T.: The Extra Terrestrial increased the sales of Reese's Pieces. When we're watching a Hollywood film, let's not pretend we're watching anything other than an extended advertisement.

Reviewed by nqure 8 / 10

Vladimir & Estragon as a married couple

Meg & Nick are a middle-class couple travelling for a nostalgic trip to Paris. The first brief scene on the Eurostar sets the tone, a couple who bicker & get on each other's nerves.

Paris, the city of lovers becomes an ironic background for a couple whose sense of familiarity brings contempt. A young couple walk hand-in-hand as Meg & Nick sit bickering. Paris, though, also represents the Bohemian, radical ideas & sexual liberation.

Each manages to push & press the buttons that winds the other up. Meg hurts Nick physically, once in a scene that had me genuinely roaring as she pushes him away when he wants to spank her & he falls over on the cobbles, hurting his knee. As the film reaches the final act, there is a danger that she might hurt him emotionally.

I didn't pick up all the Beckettian nuances on a first viewing but there are there: the (obvious) visit to the dramatist's grave at Montparnasse; the quotation; & Nick's montage containing his photo in the hotel.

The first Act revolves around them walking around Paris, a visit to a restaurant before an escapade leads to the turning point where Nick bumps into an old college acquaintance, Morgan (excellently played by Goldblum). Morgan has an exciting Parisian lifestyle as a published author; a younger wife smitten with him; & a glittering circle of interesting friends. The two men even look different: one suave, smartly casual, a bundle of energy, the other bearded, bespectacled & weather-beaten. Morgan is a gourmand tucking into life with zest. At the party, Meg meets Jean Pierre, who offers the glimpse of another more radical possibility.

In the final act, Meg & Nick are apart, underlining the gap between them following an argument provoked by Nick's jealousy. Meg's rancour is an antidote to Eve's, (Morgan's current wife), gushing idealism. Meanwhile, Nick encounters a teenager in his bedroom away from the party, who turns out to be Morgan's son from his first marriage. The two bond. This scene is pivotal. Nick lets slip his love & need for Meg just at the point when it looks like she could hurt him.

The final set-piece is Nick's self-deprecating confessional at the dinner-table where he swats aside Morgan's effusive praise of him to reveal the true state of things in his life. What shines through is Nick's authenticity, "The self I hide in myself" & in that moment, we see that the core of the man Meg fell in love with, remains.

As in 'Waiting for Godot', it's like optimism & pessimism being shackled together (The characters in Words & Music are perhaps more appropriate, the source of the quotation. I'm not familiar with the play but Nick is associated with music, Bob Dylan & Nick Drake) . Misery is funny. Yet the great tragic absurdist is also quoted by Nick on love: "Do we mean love when we say love?'

The film is about a lot of darkness before the light. There is more to love. Meg is cool & detached yet she feeds Nick her soup in the first restaurant where he sits contentedly: "This is where I want to be forever." Meg soon undercuts this feeling of well-being. Before the party, she picks out a suave blazer with care. And at the party following Nick's confessional, she makes a confession of her own that salvages things between them. This becomes a positive end of sorts, though Kureishi in the foreword to his script states the end is provisional "& the questions they ask have to be confronted repeatedly".

The film is, in many ways, a two-hander, a study of a marriage where each partner may want something different from the other depending on their temperament. The performances by Broadbent & Duncan capture the nuances of each of their characters.

It is a suitable companion piece to Julie Delphy's witty 'Two Days in Paris". Delpy even looks like a younger Lindsay Duncan, with high cheek bones & luminous porcelain skin & cool demeanour . In that film, Delpy plays a Parisian with a neurotic American boyfriend so that the film is also about cross continent relations. Like 'Le Weekend', the couple too face an emotional turning point, and both end with each couple dancing, a temporary resolution immersed in the moment.

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