Directed by Stephen Basilone
Written by Stephen Basilone
Starring Finn Wittrock, Damon Wayans Jr., Zoë Chao
Runtime: 1 hour 31 minutes
In theaters March 12

by Gary M. Kramer, Staff Writer

Bart (Finn Wittrock), the struggling novelist at the center of Long Weekend, is moving out of his apartment—he can no longer afford his rent—and into his best friend Doug’s (Damon Wayans Jr.) garage. He is still heartbroken after his fiancée left him, and he is not taking his medication. But he does take a bottle of whiskey to a matinee of Being There only to be roused from slumber by Vienna (Zoë Chao) after the film ends. 

Vienna is new to the area, and after their meet cute, she asks Bart if he wants to go out for drink. They head off for craft cocktails, then to a dive bar. He is instantly enchanted by this manic pixie dream girl who carries wads of cash but no ID. She also does not own a cell phone. (“It broke,” she demurs). Their budding relationship, which forms the first act of this slippery romantic comedy-drama, is charming. And like Bart, it is hard not to want to see where things lead even if there is a nagging sense that Vienna is too good to be true. 

Long Weekend, the feature film debut of writer/director Stephen Basilone, takes a hairpin turn in its second act. Vienna is vague and cagey about her background. Bart—like Doug (and perhaps even viewers)—gets suspicious until she drops a bombshell that is a game changer. But is she lying? Vienna does explain that she’s only in town for a few days and hopes that they can just enjoy their time together. She also needs a favor—but it is not dangerous or illegal. 

Whether audiences appreciate the film’s twist will determine how successful Long Weekend ultimately is. The attractive performers lean into the plot, which involves them mostly finding ways of being together in bed (where they pretend to be animals), go out “dancing in the dark” (which sounds more fun than it looks), or spend a romantic night in the desert (which is nice). The film, however, has the feel of seeing a couple enjoying their vacation video. It quickly gets a bit dull.

The story only hints at the lovers’ expected separation but not before Vienna gives an insightful speech about life. The drama of will (or how) these characters will end up together never quite creates enough dramatic tension. Moreover, a second—and not entirely unexpected—twist propels the film into its clunky third act. 

Just as the dynamic between Bart and Vienna starts to feel a bit off,  the film raises valid points about topics such as mental illness, but they come across as too pat. Bart, who admits to having struggled with emotional problems, treats the issue—as well as something else that happens—almost too cavalierly. The film’s awkward tonal shifts are less problematic than its overall tone, which is breezy and slight when it should become a bit more serious.

Even with the uneven material, Finn Wittrock makes Bart a likable guy who finds himself in an odd rebound relationship. He is ingratiating as he processes things, but his character should have more of an edge given Bart’s situation. Zoë Chao provides some verve as Vienna, but Basilone mostly uses her to get Bart out of his funk. She does this with noticeable aplomb, but her character is more of a fantasy than developed. 

In support, Damon Wayans Jr. is amusing as Doug, and Wendi McLendon-Covey has a fun cameo as Bart’s long-suffering building manager. 

Long Weekend is mostly undemanding. As long as viewers embrace the film’s low-key pleasures, it makes for a passable time filler.