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Weekend (1967)
Tomatometer
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Reviews Counted:16
Fresh:15
Rotten:1
Average Rating:8.5/10
Runtime: 1 hr 45 mins
Genre: Foreign Films
Synopsis: The master of the French New Wave indicts consumerism and elaborates on his personal vision of Hell with this raucous, biting satire. A nasty, scheming bourgeois Parisian couple embarks on a... The master of the French New Wave indicts consumerism and elaborates on his personal vision of Hell with this raucous, biting satire. A nasty, scheming bourgeois Parisian couple embarks on a journey through the countryside to her father's house, where they pray for his death and a subsequent inheritance. Their trip is at first delayed, and later it is distracted by several outrageous events and characters including an apocalyptic traffic jam, a group of fictional philosophers, a couple of violent carjackers, and eventually, a gross display of cannibalism. By the time the film concludes, their seemingly simple journey has deteriorated into a freewheeling philosophical diatribe that leaves no topic unscathed. With WEEKEND, Jean-Luc Godard reaches an impressive plateau of film originality, incorporating inter-titles, extended tracking shots, and music to add an entirely new grammar to film language. The result is a deeply challenging work that will most certainly invigorate some viewers just as much as it will as frustrate others. Standout highlights include a jarring, sexually graphic opening monologue shot with a roaming camera and blaring musical accompaniment, and the infamous traffic jam scene, where an endless parade of cars sit bumper to bumper amidst burning cars, picnics, and honking horns. The work of a true artist and pioneer, Godard's WEEKEND is a landmark film that hasn't aged or lessened in impact over time. [More]
Starring: Jean Yanne, Mireille Darc, Jean-Pierre Léaud
Starring: Jean Yanne, Mireille Darc, Jean-Pierre Léaud
Director: Jean-Luc Godard, Raoul Coutard
Director: Jean-Luc Godard
Screenwriter: Jean-Luc Godard
Director: Raoul Coutard
Composer: Antoine Duhamel
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Reviews for Weekend
There is nothing predictable about Weekend; Godard uses the camera as a radical satirical tool, inserting it up the backside of a society he perceives as lost, constrained and confused. And so are we.
A film that reads itself, tells the viewer what that reading should be, and at the same time tells the viewer that this reading is inaccurate and should be ignored.
This is Lord of the Flies as played by adults, and for Left Bank intellectuals, heady with righteous protest and wired on too many coffees and cigarettes
Visionary, insane, and barbarously funny; don't miss the chance to accept the challenge Weekend is still dying to make.
Weekend is a luridly colorful compendium of aesthetic juxtapositions and audio-visual schisms that evoke the frustrated tenor of the era.
Godard pushes his Brechtian didactics to the limit, his exhilarating modernism giving him free rein to draw on Freud, Marx, Lewis Carroll and James Bond.
The film must be seen, for its power, ambition, humor, and scenes of really astonishing beauty.
Week End constantly propagates images that convey class and taste. And in few films does privilege seem so crass and repellant.
A brutally satirical film somewhat reminiscent of the works of Luis Bunuel, this was Jean-Luc Godard's most ambitious and vociferous 'revolutionary' movie before he retired to the shelter of the Dziga-Vertov group.
| Tomatometer Percentage | Movie |
|---|---|
| 45% 45% | Ice Age: Dawn of the D… |
| 19% 19% | Transformers: Revenge … |
| 55% 55% | Orphan |
| 43% 43% | The Proposal |
| 26% 26% | Land of the Lost |
| Tomatometer Percentage | Movie |
|---|---|
| 52% 52% | The Taking of Pelham 1 2 3 |
| 37% 37% | G.I. Joe: The Rise of Cobra |
| 14% 14% | I Love You, Beth Cooper |
| 97% 97% | Food, Inc. |
| 28% 28% | Aliens in the Attic |
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