The Osterman Weekend Reviews

September 6, 2019
The Osterman Weekend is a game of appearances and realities, a maddening chess game whose pieces change according to the hidden logic of the film. [Full Review in Spanish]
February 9, 2019
Sam Peckinpah's movie of the Robert Ludlum novel, The Osterman Weekend, must be the most incoherent, inexplicable, muddled film made this year.
August 11, 2011
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).
March 31, 2010
A wild ride into Cold War paranoia and the dangers of technocracy.
August 30, 2006
Director Sam Peckinpah's final film is certainly not among his best, but it is interesting nonetheless.
October 23, 2004
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?
August 31, 2004
Never been more current than it is now--and if it's imperfect, it's imperfect in exactly the right way.
April 2, 2004
March 29, 2004
Despite some script contrivances, it finds Peckinpah high in the saddle again and full of the same old thunder and lightning.
March 22, 2004
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.
May 20, 2003
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.
December 30, 2002
July 29, 2002
June 19, 2001
Sam Peckinpah's final movie is stylish, has loads of nudity and other debauchery, and makes virtually no sense at all. Cheers!
January 1, 2000
It rattles along well enough as a thriler of the political paranoia variety.
January 1, 2000
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.