The Osterman Weekend (1983)

If you like boobs bombs and bullets, you might enjoy this overwrought cold war shoot-em-up. But even after you figure out what it's all about --- no easy task --- you'll find it puerile and improbable. It reaches and the viewer retches. The James Bond movies make more sense and nobody is supposed to take Bond seriously. But they do set off a lot of explosives and fire a lot of guns when they're not performing sexual acrobatics. (Why did he want her to stop chewing gum anyhow?) It's not a dreadful movie. But almost!

Fmovies: "The Osterman Weekend" emits the feeling of a last gasp. What was an author's second novel later took this form of a director's last film. Sam Peckinpah was a good choice for directing, with film's like "The Wild Bunch" and "Pat Garrett and Billy the Kid" under his belt, Peckinpah wouldn't hesitate to show the grim world of betrayal and manipulation that Robert Ludlum showed through virtually everyone of his books. With spy films like the James Bond franchise being the most popular, this was the lesser seem side of that coin - the side that is less escapist adventure storytelling for boys.

However, the problems that Sam Peckinpah was going through at his last stages have noticeably affected the film. The intricate plot is there, but feels stitched together in parts, though that may very well be due the studio demanding re-editing work. The action is at times sloppy with very little of the mesmerizing details of Peckinpah's previous action sequences; a car crash even contains multiple repeats of the same angle and makes some disastrous continuity. The other action scenes are a notch or two better, but still far from what they could have been.

But, at least the plot and its many deceptions keep you guessing, right to the last shot. --- 6/10

BsCDb Classification: 13+ --- violence, sexual content

The Robert Ludlum book of the same name is excellent, very tense and very well written. I waited ages for this film to come along at the right price (25p off ebay, ha ha), but how disappointed I was when I finally saw it. Maybe it wouldn't be a bad film if it wasn't based on a book, but it is, and a great book at that. Therefore, I have to compare the film with the original as the two can't be separated. Relative to the book, the film is, frankly, rubbish I'm sorry to say. I had such high expectations, but the film bore such little resemblance to the book that had I not known it was called "The Osterman Weekend", I would never have guessed that it was based on the book of the same name.

I gave this film 5/10 simply because I made it through to the end (and Rutger Hauer and John Hurt have done some great stuff), but it was more out of morbid curiosity as to how much more they could butcher the book than for any entertainment value. This was a film that was a product of its time (replete with cheesy music and bad acting) and it hasn't aged well. I'm glad I bought it for 25p because any more and I would've considered it a waste of money.

If it comes up on TV and you have 90 minutes burning a hole in your life, watch it - it isn't dreadful, but it's certainly not great. If you've read the book and are hoping to see it brought to life, or think that you're about to watch another Sam Peckinpah classic, give it a miss, it really isn't worth it.

The Osterman Weekend fmovies. I watched this movie twice over one weekend. "Twice" you ask and then gave it a 2? Well, the first time I watched it with the sideways look that a dog might give its master when thoroughly confused. The second time was only because I could not believe that it was as bad and unintelligible as I thought it had been. As it turned out, I was right the first time.

This is a movie for those who have read the book and want to complete the Osterman cycle...book and movie. Then the movie would, perhaps, make sense. As a stand alone film, it seems to hope to rely on its vagueness and strangeness to make the viewer believe he is watching a genius at work, but alas, "sometimes a cigar is just a cigar".

Action movie in Peckinpah style with tension , intrigue , thrills , gushing blood and violence . The one weekend of the year you won't want to miss. The host of an investigative news spectacle (Rutger Hauer,first major character in a Hollywood movie played by Dutch actor) is assigned a dangerous mission As TV show hosted by television journalist John Tanner is called "Face to Face" and he is convinced by a CIA operative (John Hurt was second billed) that the friends (Chris Sarandon , Dennis Hooper , Craig T Nelson) and wives (Helen Shaver ,Cassie Yates) he has invited to a weekend party are Russian spies from a secret organization . The name of the Soviet spy network was "Omega".

This actioner and suspenseful movie tells a convoluted and complicated tale of vendetta , espionage and treason . Interesting but slightly boring spy film , including an overly complex and confusing script , even though at times it is admittedly engrossing . The picture was made and released about eleven years after its source novel of the same name by Robert Ludlum had been first published in 1972 . Sam Peckinpah was fired as director during post-production. Others were Convoy and Ride the High County . When he refused to re-edit Osterman weekend after it was screened for a test audience and met with a confused and extremely mixed reaction. Producers took over the editing with the assistance of the editor , drastically altering opening and ending sequences. Mediocre and dark cinematography by John Coquillon , in fact , the picture involved a considerable amount of filming at night. It was filmed at a 1950s ranch located in upper Mandeville Canyon in the Hollywood Hills , it was a property once owned by Robert Taylor and has been frequently been known by the names the "Taylor Estate" . Anti-climatic soundtrack by Lalo Schifrin composed by means by synthesizer . Director Don Siegel, long time friend and mentor to Sam Peckinpah, recommended Lalo Schifrin as the film's composer. Schifrin had scored five of Siegel's movies ; composer Lalo Schifrin had to sit by Sam Peckinpah's sick bed in order to spot the film and decide which scenes did or did not need music.

Final film of director Sam Peckinpah. The picture was also Peckinpah's big "comeback movie", it was his first in five years, his last film having been at the time Convoy back in 1978 . The movie is also Peckinpah's only feature film of the 1980s decade . The production shoot for this film ran for fifty-four days . Director Sam Peckinpah was in ill-health throughout the shoot as the long-term toll of his drug and alcohol abuse suggested to many in the production that he was dying. Peckinpah after beginning as a writer , was soon involved in TV Westerns at the peak of his popularity ; shooting series just like ¨¨The Westener¨, ¨Gunsmoke¨and most popular ¨Rifleman¨, moving into films by 1961 when he made nice impression with ¨The deadly companions¨, ¨Ride the High Country¨ , Major Dundee¨ and his best picture ,Wild Bunch¨ . After that , he concentrated on nail-biting and tougher-than-tough action films just like ¨The getaway¨, ¨Convoy¨, ¨the ¨killer elite¨ and this last movie ¨Osterman weekend¨ . The final title as violent and nice as anyone the Western or wartime genre has given us .

After the utterly ridiculous good-ol'-boy trucker film CONVOY in 1978, Sam Peckinpah languished for five years before returning in 1983 with what would prove to be his final film--THE OSTERMAN WEEKEND, based on Robert Ludlum's maddeningly complex 1972 spy novel.

Despite the fact that it is often cold and sometimes confusing, this film's weakest moments are far superior to even the strongest moments of CONVOY. Rutger Hauer stars as a hard-hitting TV talk show host with a habit of skewering people inside the U.S. government. As this film opens, he is about to have a reunion with five friends of his from the good old days of 1960s radical college politics.

But then a CIA operative (John Hurt) drops a bombshell on him: Those friends of his (Craig T. Nelson, Dennis Hopper, Helen Shaver, Cassie Yates, Chris Sarandon) are supposedly traitors working for the Soviets in a scheme involving germ warfare sabotage. The result is that Hurt, with Hauer's reluctant acceptance, sets up surveillance equipment throughout Hauer's property to document further evidence of his friends' betrayal. When those people start coming unglued, however, more is at stake than just national security or the Cold War. So are peoples' lives!

Though Peckinpah was clearly on his last run while making it, THE OSTERMAN WEEKEND shows that he still could deliver the goods when it came to setting up great action sequences. The final shootout between Hurt's CIA underlings and Hauer and Nelson is edited in such a way as to resemble THE WILD BUNCH, while its actual filming suggests still another Peckinpah masterpiece, STRAW DOGS. Lalo Schifrin's score brilliantly accentuates things. Peckinpah, in depicting the head of the CIA (Burt Lancaster) as the heavy, also clearly makes a statement against America's heavy-handed approach toward Communism in the Reagan era.

All in all, despite its slight confusion, THE OSTERMAN WEEKEND works for those willing to give it a go.