The LEGO Movie 2: The Second Part
The Walking Dead
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All Critics (23)
| Top Critics (4)
| Fresh (22)
| Rotten (1)
| DVD (6)
Year after year, Jean-Luc Godard has been chipping away at the language of cinema. Now, in Weekend, he has just about got down to the bare bones. This is his best film, and his most inventive. It is almost pure movie.
As long as cinema like this exists, there's no end in sight.
This apocalyptic farce-Alice in Wonderland as reconceived by the Marquis de Sade-would mark both the high point and the end of Godard's meteoric career as a popular artist.
The film must be seen, for its power, ambition, humor, and scenes of really astonishing beauty.
[Jean-Luc] Godard is intent on having his cake and eating it too.
In the absurdist dark comedy, Western society never looked so sickening on film.
an apocalyptic primal scream against the conformities and hypocrisies of the Americanized French bourgeoisie and one of the most lacerating and funny satires of car culture ever produced
Uncompromisingly cynical and completely unforgiving, Week End is a satire so black, you couldn't see hope if it was dancing in front of your eyes carrying sparklers and singing La Marseillaise.
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
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.
Visionary, insane, and barbarously funny; don't miss the chance to accept the challenge Weekend is still dying to make.
A bourgeois husband and wife plan a delightful weekend during which they plan to kill their relatives for inheritance.
Eric Braysmith said, "What's interesting about this film is the many ways you hate it." I'm more blunt: fuck this movie. Fuck this movie backwards, sideways, and with that knife-dildo from Seven. Like most of Godard's work, this film defies understanding, and anyone who fully understands it is already inculcated in the film's politics and intellectual community and consequently doesn't need to watch it. Everyone else is left confused. A condemnation of bourgeois ideology, the accessible parts of the film are heavy-handed, and the inaccessible parts wreak of pretentious self-gratification.
Overall, Jean-Luc Godard, whom I've long despised, can finally go fuck himself.
A cruel bourgeois couple take a weekend to travel to see the wife's dying father in hopes of grabbing his inheritance, but traffic patterns, civilization, and reality all break down during their journey. Jean-Luc Godard's satire in the style of Luis Bunuel mixes exhilarating ideas (the unexplained car wrecks everywhere give a sense of society collapsing) with pedantic ones (dated Marxist lectures on colonialism); it's all "very Sixites." You could see it either as Godard's last accessible film, or his first inaccessible one.
An unconventional bit of storytelling that I found to be quite enjoyable. Looking at this movie with a preconceived notion of narrative would make this an extremely unpleasant and boring experience. Letting go would be the first thing I would advise someone to do. Given the proper lens, it's a beautiful film. Its hostility towards traditions are quite interesting. It attacks not only capitalism, but marriage, life, death and compassion.
Bizarrely strange and beautifully done. Nice political message.
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