Sexy, provocative, engrossing and occasionally ornery, it should appeal to anyone whose curiosity about someone new has provoked them to question their own identity.
| Original Score: 4/5
Cullen and New are British stage actors with little background in film. Haigh's only previous film was a documentary. Perhaps because they don't feel bound by a set of rules, they've created one of the year's most enjoyable surprises.
| Original Score: 3.5/4
It's a definitive example of naturalistic moviemaking -- you feel you're breathing the air that the characters are breathing.
| Original Score: 3/4
Its final moments offer a vision of what a contemporary romance can achieve: an appreciative gasp of truth, a wet-eyed hope for more.
One of the truest, most beautiful movies ever made about two strangers.
| Original Score: 4/4
If you've ever met someone who changed your life in the space of days, you'll relate to something in this movie.
The organ that "Weekend" is most concerned with isn't the one you might think, but the human heart.
In just a short period of time, a weekend hookup tests the boundaries each man has set for himself.
If this lovely movie proffers a thesis or a moral, it's a simple one. A more open, fully integrated and passionate life feeds the soul no less than air and water. Or coffee the morning after.
The bland sentimentality and dull attitudinizing turn the movie into an empty frame of good intentions.
A moving and empathetic look at how relationships develop, at how people fall in love and what that does and doesn't do to their lives.
| Original Score: 3.5/5
It's about love's essence, and the pain of its absence.
Writer-director Andrew Haigh, who's made several short films and one other feature while holding down big-studio editing gigs, allows the characters and their ideas to develop naturally.
This is a smart, sensitive, perceptive film, with actors well suited to the dialogue. It underlines the difficulty of making connections outside our individual boxes of time and space.
An achingly tender chamber piece from first-time director Andrew Haigh.
hile the credible script and naturalistic acting deserve praise, there's even a thrill in seeing romantic clichés -- you'll spot them all -- embraced anew.
| Original Score: 3/5
Haigh avoids exploitation and cheap thrills in favor of a mature, incisive examination of relationships.
It is about the paradoxes and puzzlements of gay identity in a post-identity-politics era, and also about the enduring mystery of sexual attraction and its consequences.
Its small scale allows for detailed looks at two men who are likeable and flawed, and who connect on a level neither expected -- nor in one case, was even looking for.
| Original Score: A
Boy meets boy in this low-budget, acutely observed relationship drama.
| Original Score: A-
One of the bravest, most honest and most accomplished stories of gay love and sex ever rendered on film.
I love what Haigh manages to achieve in his Weekend. The movie is political and challenging, but in an organic way.
Weekend settles into an intentionally minor-key groove, caught somewhere between bracingly direct honesty and cringingly mumbly pretense.
I hate to damage so fragile a work with overpraise, but, gay or straight, if you don't see yourself in this movie, you need to get a life.
Naturalistic without being ineloquent, heartfelt yet unsentimental, Weekend is the rarest of birds: a movie romance that rings true.
Without spoiling what happens and how, it's fair to say the pivot away from Linklater-style sentimentality leaves little room for a sequel hook-up a decade down the road.
The two leading actors give deft, expressive performances that have us rooting for both of them. Cullen has a broodingly sensual presence, while the impish New makes a charmingly prickly foil.
Cullen and New develop a compellingly credible give and take.