Tockinit not horrible nor great

Phonearl Good start, but then it gets ruined

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Brennan Camacho Mostly, the movie is committed to the value of a good time.

Buzz (DaytonaBob) Goddard is a genius? SERIOUSLY? This waste of time is violent, disgusting and any political message he is trying to portray as some sort end of the world scenario is total B******T.As I read reviews going on and on about what brilliant movie making I thought these people sound like the idiots I went to college with who would go on and on and on about a 40 minute movie showing a wall they stared at and had the supreme gall to call it incredibly thoughtful and a statement on...well stupidity in my opinion.The nonstop murders, rape that borders on bestiality, eating people is without a doubt some of the most pointless nonsense I've ever seen. The worst is Goddard seems to think killing animals live on screen is great entertainment. His "characters" slaughter a live pig on screen, rabbit and various other disgusting killings. Basically this is a snuff film that sophomoric people sit around drinking and getting high while calling it brilliant is probably the best sense of the demise of civilization that people would call Goddard a great film maker.Nope just a pretentious bit of garbage that was a waste of money and time. A better film would be showing Goddard a victim of his own entertainment and being slaughtered live on screen as punishment for making such drivel.Just goes to show that if you buy into this kind of hype you'll buy into anything without thinking.

gavin6942 A supposedly idyllic week-end trip to the countryside turns into a never-ending nightmare of traffic jams, revolution, cannibalism and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations.Following World War II, the French grew increasingly supportive of communism. Maybe not as a whole, but the intellectuals (such as Sartre) embraced it, and it seems a natural reaction following the Nazi occupation of the 1940s. Rejecting the extreme right does tend to push ideology to the left.Here we have a surreal satire on the class struggle in France in the 1960s. One of the most radical countries during one of the most radical decades. Many have compared this to Luis Bunuel's "Discreet Charm" and with good reason. They can both be seen as the artistic expression of the disdain for the upper class. I dare say this is the better film, even if probably the lesser-known.

Mopkin TheHopkin Jen Luc-Goddard's "Weekend" is a strange art film. Goddard uses garish colour and strange camera shots and editing cuts throughout the film to give it an anarchistic feeling. Fitting, as this film is about the collapse of society during a weekend car trip. I think. The film features a number of characters who are completely off their rockers. There is a roadside robbery by Jesus (or God? or God's grandson?), inexplicable on camera animal killings (real, I think), cannibals, murder and a ton of car's honking. I do not know what else to say about this film really apart from what it made me feel, which was a bit confused. The film is about anarchy and chaos, and the way it is shot is increasingly disjointed as society continues to crumble. Their is also a ton of political commentary about consumerism, neo-colonialism and class division. When this film ended, I really did not know whether I liked it or not. It had some good dark-humour and was interestingly shot, but made little sense beyond that, and left me thinking of an art school project.All in all, this was a disjointed art film about anarchy, and I didn't like it or dislike it. It just is. It exists. Why, I cannot say. Recommended for fans of Goddard, and anarchists I guess. 5/10

siriustemplar Week End is everything and nothing all in one film. It is a brutal work of agit-prop which treats its subjects with disdain- be they the apathetic and vile Parisian upper middle class or Godard's own Maoist youths. It is a perfect exercise in post-modern filmmaking- a film aware of its own power and uselessness. It is a film in love with and filled with an ethical hatred of cinema. A film where the fourth wall is meaningless and the viewer is the enemy. It is also one of the greatest works of cinema art.When viewing Week End, one must look at it as a film on to itself and also in the context of Godard's hyper-creative 1960s run.As a film on to itself, it bends the definitions of cinema as it follows the vile actions of an upper-middle class Parisian couple- a couple high on physical attractiveness with an ugly soul(less) to match. Around this couple is the decay of Western civilization through our avarice, racism, and misguided youth culture (and a healthy dose of car accidents). It is a powerfully political film without really having a specific political message. It is anti-capitalist without being pro-Marxist. It is anti-establishment without presenting an alternative establishment. It is the politics of hopelessness, disgust, and anarchy. It is what Godard saw out of his window in the ever faltering 1960s of youth movements matched with a heightened occurrence of genocide, racial oppression, and despair in the world. Hollywood gave us Easy Rider or Gimmie Shelter to visual display this despair. Godard gave the French Week End. It is the visual equivalent of throwing one's hands up in frustration.As a bookend to Godard's hyper-creative 1960s period, Week End's true brilliance shines. This is Godard's period which began with Breathless- a film in love with cinema and held together with radical, yet sensible, cinematic techniques. By time Godard's anger and frustration had over taken him (evolving through Masculin-Feminine, 2 or 3 Things..., and La Chinoise), Week End was the end result. While Breathless naively worshiped the beauty of cinema and youth culture, Week End is the "end of cinema". The beautiful femme fatale has been replaced with amoral cannibals (both figuratively and literally). Cinema techniques have become cinema tricks to torture the film's characters and audience.Week End is not a film for everyone. But those with the right eye for it will find an extension of art as an uncomfortable weapon- a film that dazzles and frustrates. And ultimately, Godard's most honest film in that it cleanly displays his sense of frustration with the culture he despises; the capitalist, Parisian upper-middle class; and the culture he one time adored; the Maoist youth culture of beauty and revolution.