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www.einsiders.com - : Maverick director Sam Peckinpah's ''The Osterman Weekend'' was a sad but not unexpected end to a turbulent career and life. The drug-addicted director was given one last chance to direct by up-and-coming producers Peter Davis and William Panzer. Instead of becoming Bloody Sam's comeback film, ''The Osterman Weekend'' ended up as a disappointing swan song to Peckinpah's career. As misfire's go, ''The Osterman Weekend'' is better than most. Sadly, the few glimpses of Peckinpah's creativity as director remind the viewer how far Sam had fallen. more...
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filmfreakcentral.net - : And so encapsulates the genius and the madness of Sam Peckinpah's final film, the contentious, still-relevant The Osterman Weekend. Serving as a bridge of sorts between the psychosexual circus of Brian De Palma's Dressed to Kill (1980) and the technology/media fear of Ridley Scott's Blade Runner (1982) and David Cronenberg's Videodrome (1983), the film strikes a balance between the paranoia cinema of the 1970s and the technophilic sci-fi wonderland of the 1980s. It's brilliant--mark the ways that Peckinpah implies that every shot in the film is taken from a hidden camera for the pleasure of the audience. (A picture hasn't been this successful in indicting the criminal aspect of watching a movie since Hitchcock's heyday.) More than brilliant, like the best of Peckinpah's films, it gets under your skin with scalpel-grace. He made films of intimate violation--of rape, essentially; when you stare into the abyss of Peckinpah's pictures, Peckinpah stares into you. more...
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