"Amoral in Albuquerque"
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What You Need To Know:
DIRTY WEEKEND is from the twisted mind of writer-director Neil LaBute. The solution to the mystery involves prostitution, cross-dressing, homosexuality, and even incest. The innocent jokes in the first half hour lure viewers into thinking they’re seeing a movie like PLANES, TRAINS & AUTOMOBILES rather than what actually comes: a totally perverse mockery of biblical morality. The cast is wasted in the service of a movie that’s utterly deplorable and abhorrent.
Content:
(PaPaPa, PCPCPC, HoHoHo, ABABAB, LLL, V, SSS, N, A, DD, MMM) Very strong politically correct pagan worldview with very strong homosexual, lesbian references and implications meant to mock traditional moral values derived from the Bible; at least 70 profanities and obscenities, with almost half or more being “f” words; no real violence but some sadomasochistic references; no depicted sexuality except for lesbian kissing and male/female siblings kiss during a threesome bedroom scene, but lots of frank, crude discussion regarding prostitution, homosexuality, promiscuity, adultery (the male protagonist is married), sadomasochism, homosexuality, incest, cross-dressing, man questions his sexuality, and a visit to a homosexual bar; upper male nudity; alcohol use throughout; no tobacco use but a marijuana cigarette is seen being passed and it’s implied that drugs might have clouded married leading man’s judgment and memory during and after one sexual encounter; and, lying and deception by the married lead toward his wife, and it’s suggested that the husband just needs to get his bad behavior out of his system.
More Detail:
DIRTY WEEKEND is the story of a mild-mannered married man who gets trapped with his female business partner in Albuquerque due to bad flying weather, and the sexually perverse weekend that ensues. DIRTY WEEKEND is an abhorrent, foul-mouthed movie with a very strong pagan worldview, marred further by strong pro-homosexual and even pro-incestuous content intended to mock traditional biblical values in a politically correct way.
Les (Matthew Broderick) and Natalie (Alice Eve) are two business colleagues who get trapped in Albuquerque for an extra day and night en route to a business meeting in Dallas. Natalie wants to play by the book and stay at the airport waiting for the next flight, but Les mysteriously has an urgent and nervous need to get downtown in Albuquerque on his own, claiming he’s going to buy souvenirs for his children.
Natalie talks her way into coming along, despite Les’ strong protests. The two wind up in a series of funny cab rides that make the movie appear to be just a normal comedic lark without any immoral content. Then, Les is finally forced to admit to her he’s trying to enter a gay bar called Zorro, where he said he met a woman a few months before and has a vague but persistent concern that something homosexual happened that night involving him.
The two enter together and start a series of debates about Les’ life and whether he’s secretly homosexual. He expresses disgust throughout, while Natalie reveals not only that she’s a lesbian, but that she’s in a relationship where her partner makes her wear a dog collar and do various degrading activities. Natalie meets a beautiful fellow lesbian and asks Les to give her privacy so that she can have an encounter since she’s unhappy with her relationship.
Les is about to leave when he sees a beautiful woman he vaguely recognizes. Les asks her if they’ve met. She laughs and says yes, and wonders how he could have forgotten her. She offers to solve the mystery of what happened to Les months before, and they wind up at her place.
The solution to the mystery involves prostitution, cross-dressing, a threesome orgy, and homosexual relations.
DIRTY WEEKEND is from the twisted mind of writer-director Neil LaBute (IN THE COMPANY OF MEN, YOUR FRIENDS & NEIGHBORS), who has built a lengthy career in the indie-film world with stories that always focus on twisted relationships that reveal the “dirty secrets” behind normal heterosexual relationships. Here, he has a lighter comic tone than usual, but the innocent jokes in the first half hour lure the audience into thinking they are seeing a movie like PLANES, TRAINS & AUTOMOBILES rather than what actually comes: a totally perverse mockery of conventional morality.
It’s a shame, because it’s rare to see the immensely talented and appealing Matthew Broderick in a leading role these days. However, he and the rest of the cast are wasted in the service of a movie that’s utterly deplorable in its moral sense and a must to avoid.
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