Starring: Patrick Houser, Chip McAllister
Directed by; Lawrence Bassoff
This will a short review because, quite frankly, Weekend Pass is barely a movie. Sure, it has opening credits, over an hour of moving pictures with sound and music, and then end credits, but if that’s the checklist for a movie, then this movie makes some of the middle-school drama projects I’ve seen look like Oscar winners. Lawrence Bassoff wrote and directed a film that is a direct insult to other movies playing in the same multiplex. Save some time and don’t even bother reading the rest of this review; this movie doesn’t deserve that much thought.
The story is about four navy recruits out on a weekend pass before they’re sent on different missions throughout the world. Within that time, they partake in fun, fights, and other forms of debauchery. There are some wholesome moments, such as each of the guys finding love in the right way.
The major problem with Weekend Pass is that the film doesn’t represent much of a story. The above paragraph appears to be a snapshot of the film, but it’s actually most of the movie. Aside from a horribly staged fight scene that makes professional wrestling look like bloodsport, an amateur hour comedy show that isn’t funny (intentionally) and goes on for way too long, and an erotic massage comedy scene that’s neither tantalizing nor humourous, this movie has nothing to it.
In fact, almost ten percent of this movie is B-roll footage. I mean, if you love staring at footage of Los Angeles, then maybe you’ll get a lot out of this movie, but that’s a lot of time dedicated to glamour shots of Venice Beach. Other scenes have the four guys doing touristy things and having fun, but nothing of it really that compelling.
The acting is somewhat okay, although nobody is going to use this as part of the highlight wheel of the career. At best, performances are passible like Patrick Houser (as Webster Adams) as the good-looking guy who seems to have terrible luck with women and Chip McAllister (as Bunker Hill) who does show off a bit of complexity as someone who came from nothing and has now made something of himself. Yet there are scenes, like the McAllister’s fight scene, that are just an awkward mess. Some performances are downright wooden like Peter Ellenstein (as Lester Gidley) who acts as the token dork of the gang and Pamela Kay Davis (as Tina Wells) who serves as Bunker’s love interest and has the same expression no matter what emotion she’s trying to act out.
Aside from B-roll, the actual plot is a dud. I don’t know why Bassoff would think people would want to watch 15 minutes of intentionally bad comedy, but you’re getting that with Weekend Pass. Avoid this movie at all costs. It’s not a guilty pleasure nor is it something to give a chance when there’s nothing else on TV and you can’t access anything online. At least with bad movies, it feels like someone has a vision. There’s no vision here other than to put something into theatres. At least it’s harmless junk (because there are films that are bad and truly reprehensible), but this movie had no business being made.