The Osterman Weekend (1983)
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Based on a novel by Robert Ludlum, this actioner is the last film made by director Sam Peckinpah. It is the story of a television talk-show host who works on exposing Soviet spies for the CIA. The trouble is, most of his targets are very close friends of his who will be gathered to celebrate their annual reunion.
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Critic Reviews for The Osterman Weekend
I don't demand that all movies make sense. I sometimes enjoy movies that make no sense whatsoever, if that's their intention. But a thriller is supposed to hold together in some sort of logical way, isn't it?
Some individual sequences -- including a car chase early in the film - have the lunatic humor that might have made the rest of the film bearable, though probably nothing would justify the film's final blood bath.
The structure is a mess (the film was recut against Peckinpah's wishes), which ultimately makes it difficult to tell whether its oddly compelling qualities are the result of a coherent artistic strategy or the cynical carelessness of a director sidelined.
Too bad this confusing, incoherent satirical espionage thriller turned out to be the swan song of Sam Peckinpah,who made so many good films (The Wild Bunch).
Director Sam Peckinpah's final film is certainly not among his best, but it is interesting nonetheless.
Never been more current than it is now--and if it's imperfect, it's imperfect in exactly the right way.
Despite some script contrivances, it finds Peckinpah high in the saddle again and full of the same old thunder and lightning.
A muddled thriller ... Peckinpah seems more interested in shooting laughable action sequences and exposing the bare breasts of his actresses than in relating a coherent story.
Sam Peckinpah's final movie is stylish, has loads of nudity and other debauchery, and makes virtually no sense at all. Cheers!
Audience Reviews for The Osterman Weekend
Somewhat confusing espionage thriller from the old days of the cold war and director legend Sam Peckinpah's final film. While the cast is great and delivers, the plot is a tad uneven in the first half but does get better once the weekend starts. Then things decently exciting and some of the characters finally grow on you. Then the film also benefits from the uncertain loyalties and comes up with a surprise or two, like a pretty strong female character. The bloody showdown, even though using a bit too much slow motion is pure Peckinpah. Overall the film suffers from its own logic, that just doesn't seem to fit together, despite of a pretty entertaining second half.More
Far from the old days of glory when this filmmaker could shock, unbalance or move us. You could tell he wasn't really into the story at all, though I can't blame him for that, in the everything seems so futile and silly. The only good points are the ensemble cast and some of Bloody Sam's trademark slow motion action scenes. Unintriguing, forgettable.More
Definitely falls under the category of one of the most under-appreciated and overlooked movies ever made. The film-making style alone is worthy of praise, Sam Peckinpah's early use of slow motion action sequences and sound is just so well done. Not to mention the flawless casting, Rutger Hauer has and always will be one of the greatest actors of all time. He makes any role feel incredibly human and at the same time captivating beyond belief. The story is so well played out, making for one of the best Soviet-Spy plots. There is one twist after another and even when you think you've figured it out it throws you another twist. All around this is just an incredible movie and definitely deserves more credit.More
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