User Score
6.6

Generally favorable reviews- based on 19 Ratings

User score distribution:
  1. Positive: 14 out of 19
  2. Negative: 1 out of 19

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  1. Mar 16, 2014
    8
    “Le Week End” is a charming, warm and deeper than it purports to be film written by Hanef Kureishi with directorial credits going to Roger Michell. The film stars Jim Broadbent, Lindsay Duncan and, in the latter half, Jeff Goldblum. Although ostensibly the story of a British married couple of 30 years celebrating their anniversary in Paris, it is much more than that. Its British umbrella goes beyond that country’s culture to cause any long married couple of any nationality to easily identify with the problems they face as they try to recapture or maybe even create the relationship they each want with the other. Ms. Duncan and Mr. Broadbent dominate the screen as they share their innermost feelings and disappointments in a movie that seems to capture the essence of the “Best Marigold Hotel” film and a tamer and warmer “Who’s Afraid of Virginia Wolf”.Mr. Kureisi’s dialogue is meaningful and profound as the two principal characters encounter the ups and downs of marital life and the burdens and benefits it offers. I give the film an 8 and suggest that the City of Paris be given an honorable mention in the credits for it certainly plays a meaningful role in the lives of this engaging and complicated couple. Expand
  2. Mar 21, 2014
    6
    The trailer makes the film looks funnier and more jovial than it is. Instead, it’s the story of a long-time married couple hitting their retirement years, realizing that they might not be a perfect match any longer. It’s slightly uncomfortable in places, but it’s also fun – at least when Jeff Goldblum is on the screen.
  3. Lyn
    Jul 20, 2014
    8
    This is "Before Midnight" for the retirement-age set. Unlike the couple in that other film, Nick and Meg don't shriek incessantly at each other about all the things they've been pissed off about for 8 or 10 years. Rather (because they're older? More rational? English?) they pick at some well-worn weaknesses as they also mull over their marriage and their respective lots in life. And as they companionably gad about In Paris, which of course makes it more entertaining. This is the kind of role Jim Broadbent so often plays to perfection, and Lindsay Duncan also is great as an older woman trying to maintain her edge. Jeff Goldblum adds some fizz as a guy who seems like an older version of the funny/annoying dork he played in "The Big Chill." I like the way this film portrays late-in-life complexities ... bleak at times, funny at times: thought-provoking. Expand
  4. Apr 20, 2014
    8
    This is a film about an aging married couple whose trip to Paris is designed to spark a declining relationship. It will disappoint those who expect a geriatric romantic comedy, but it is intelligent and superbly acted. Lindsay Duncan, long a fine stage actress, makes a stellar switch to film. And Paris looks lovely. If you have patience with people who vacation in Paris and who still ask"Is this all there is?" you may like the film a lot. Expand
  5. Mar 17, 2014
    1
    You know how they say a movie can grow on you ? Well, they are right. This movie grew so that I ended up despising it. So boring and pretentious it was, with nothing to say. It was hard to hear (low sound). It was hard to look out, even with gorgeous Paris in the background. I don’t care what the critics say, this movie was a zero for me.
  6. Mar 14, 2014
    7
    A bitter sweet drama that is also funny. Jim Broadbent and (especially) Lindsay Duncan are utterly convincing as a jaded married couple returning to Paris to celebrate their 30th wedding anniversary. Hanif Kureishi's screenplay is wonderfully observant in the way it explores the complexity of emotions that long term marriages are prone to. I defy anyone who has been married as long as this couple not to recognise themselves in at least some aspects of the fine writing. The compromises, broken dreams, regrets, recriminations, disappointments, triumphs and failures all come under accurate scrutiny and the performers add the nuances that makes the whole thing ring with the sting of truth. This doesn't mean, however, that there aren't some bizarre and unlikely interludes. I really don't think your average 50 year old is going to attempt to do a runner from a restaurant, but these are forgivable and still enjoyable moments in an intelligent, if at times, rather sad tale.

    As an aside, and almost by default, the film highlights how travel and weekend breaks (specifically here) can be fraught and stressful, in contradiction to the fun they are meant to be. The film ends on an up beat note, but like the emotional roller coaster ride that the couple themselves are on, this is just an UP moment in the rich and ever changing tapestry that is called life.
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  7. Mar 25, 2014
    8
    A simplest movie, which tells the story of an old couple from Birmingham who decides to celebrate their 30th wedding anniversary in Paris. Like all the married couples these two as well not exceptional for facing all the ups and downs during their life together. So this story spells some of their tragic and happy moments of past and present.

    Nicely written script, it was very plain and
    narrow. Everything in the movie was kept uncomplicated including portrayal of characters. Jeff Goldblum's cameo was added more flavour to the movie. His entry was at the right time to spice up the momentum.

    The adventurous mischief of the two couples in the city of love was the movie's fun parts. Apart from that, uncompromising dialogue between them briefs their relationship difficulties. One more movie to add to the list where the old guys rule. It is based on a precious subject, kinda rare in today's cinema.

    A delightful movie to watch. Began with a normal pace, then later geared up till the end. With a minimum cast the movie did not cost much, but there is no compromise in quality. Very much more enjoyable which deals with a sensitive issue of a long married couple. It is a good pick for the family audience to watch on weekends.
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  8. Apr 4, 2014
    8
    Oh Paris, je t’aime!

    What do you get when you mix the influence of French new wave director Jean-Luc Godard, the acting talents of Jim Broadbent and Lindsay Duncan, the sturdy direction of Roger Michell and poised writing of Hanif Kureishi? What feels like the unofficial fourth entry to the Before Sunrise independent film trilogy, Le Week-End is a film that could easily be mistaken as
    the extended look at the lives of Jesse and Celine, years after their fateful meeting in Vienna.

    There is something exquisite and magical with films set in Paris, a city that is most commonly known as the ‘city of love’. And although Meg (Lindsay Duncan) and Nick Burroughs (Jim Broadbent) choose to revisit Paris after thirty years of marriage and re-live their honeymoon after a long and challenging life together, things don’t exactly go how each of them planned. Instead, what surfaces is a film budding with sophistication, film history, and bittersweet revelations that showcase a world of fading lovers and seasoned couples.

    Le Week-End is a film set in the fine wine capital of the world. Surrounded by couples holding hands, sharing moments of pure love and wonder, Meg and Nick have some serious marital issues to face, but instead decide to lather over them with the spectacular sights and sounds of the Eiffel Tower, the River Seine and upper-class dining and accommodations. Both highly irritated with each other’s approach to life, their children and their relationship as a whole, Meg and Nick use the vacation as a means to reconnect. However, the couple unexpectedly run-into one of Nick’s former student’s and now renown author Morgan (Jeff Goldblum). Morgan invites Meg and Nick to a dinner party to celebrate the release of Morgan’s latest literary achievement. However, Meg and Nick get a lot more than just dinner among friends, and instead their evening turns into a plethora of ultimatums and heartfelt realities.

    The grand beauty of Le Week-End lies in the chemistry between Broadbent and Duncan. As two educators in their own sense, Nick a university professor and Meg a teacher, the two honeymooners surely belong to a class of people who are in constant pursuit of life experiences. Sadly, the couple, who have lived their lives catering to the needs of others, can’t seem to get rid of their overly mature son, who has found his way back to basement of their home. Torn between what is right and what is necessary, Nick and Meg’s parental approach is clearly outlined in the short snippets of calls Nick receives from their son. Thankfully, the heart of Le Week-End is easily found, not in the commentary of parenting, but in the depth of fleeting love, and Duncan and Broadbent share a hate to love for one another that could only be seen in some of the misunderstood, post modern works of European artists almost sixty years prior.

    Meg and Nick use their thirty year wedding anniversary as a muse towards re-connecting. Meg, seeing the vacation as a ‘last chance at love’ for her and her husband, adopts a very go with the flow, careless attitude towards their spending and experiences in the Parisian city. Early on, it is clear that Nick is the money saver and principle earner in the relationship. While Nick sees Paris as an escape from their mundane lives in Birmingham, he also sees it as an opportunity to indulge in a weekend filled with romance and wild, kinky sex with his gorgeous wife–whom he still very much loves and longs for. Meg on the other hand is mostly repulsed with her husband, describing him as “making her blood boil like no body else’. Where Nick replies that that indeed is “the sign of a deep connection”. Essentially, life happens. For every good, there is a bad, for every high, there is a low. Le Week-End showcases these highs and lows, few and far between.

    While the couple travels together, they are mostly a duo of outsiders with one another. From the moment we meet the rambunctious Meg and patient Nick, we experience a dialogue between two people who are lost in translation, although, some how, both individuals find themselves speaking the same language. The witty screenplay by Kureishi (an author whose novel The Buddha of Suburbia was a novel I read in University) allows the internal thoughts of the characters to be read easily by the viewers and allow the actions of our characters to speak volumes. A city roaming with mimes, colourful characters and whacky personas, Meg and Nick find themselves lusting for the city of Paris to revive their emotions and expectations of one another.

    It may not seem it, but aside from the fury and disagreements that Meg and Nick deal with, Le Week-End reminds viewers that “love is the only interesting thing” left in life, especially when you reach the age of our cinematic specimens. The answer may be love, but the factors determining this answer are the tools for the equation.
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  9. Mar 30, 2014
    4
    LE-WEEKEND truly aspires for depth and relevance but ultimately falls into the easy cliches that we associate with the typical Hollywood RomCom. This is a film that ultimately feels false and forced. You'll never believe for a minute that these two boomers played by Jim Broadbent and Lindsay Duncan have been in the same room together let alone married for over 30 years. As the film plods along from obvious plot point to obvious plot point, director Roger Michell and writer Hanif Kureishi try very hard to makes us believe how "genuine" this all is but their talents prevent them from adding any true insight. LE-WEEKEND is actually more frustrating than a RomCom because it is never engaging, witty or charming, just false at every turn. Expand
Metascore
73

Generally favorable reviews - based on 29 Critics

Critic score distribution:
  1. Positive: 23 out of 29
  2. Negative: 0 out of 29
  1. Reviewed by: Mike Scott
    Jun 20, 2014
    60
    Michell's is a film with somewhere to go -- and that journey is one well worth taking.
  2. Reviewed by: Kimberley Jones
    Apr 2, 2014
    67
    Director Roger Michell and his frequent writer Hanif Kureishi (their last film together was Venus) regularly dance to the very cliff’s edge of despair, and only for the grace of good casting do you not wish they’d just jump and get it over with.
  3. Reviewed by: Bill Goodykoontz
    Mar 27, 2014
    80
    Director Roger Michell ("Notting Hill") has the good sense to step back and let Broadbent and Duncan work their magic on Hanif Kureishi's script. They don't disappoint.