I sound like I’m digging in here but part of the charm of Wittrock, and of Long Weekend in general, is that it comes to us in the shape of something far more generic than it actually is. He has outsized yet finely hewn features, like an early 20th-century cartoonist tried to draw a matinee idol with the fewest lines possible and it came out looking somehow both twinkish and cro-magnon. ![]() The poster is one of the worst I’ve seen (for the love of God, no more open-mouthed laughing!), and lead Finn Wittrock, if you didn’t remember him from small roles in If Beale Street Could Talk or A Futile And Stupid Gesture, looks like the stock image that comes up when you search “white guy.” “Finn Wittrock” even sounds like an AI bot tried to name a cute white actor. I went into Long Weekend, opening in theaters this week, with the lowest of expectations. It’s like Eternal Sunshine in a snow globe. Long Weekend acknowledges those expectations just enough to subvert them, and thanks to great performances and sharp writing, he creates created this weird, charming little rom-com just different enough from the norm to be intriguing while retaining the best of the genre. The beauty of Long Weekend, written and directed by Community and The Goldbergs writer Stephen Basilone, is that Basilone knows we’ve all seen that movie. ![]() At this point, we’ve all seen the down-on-his-luck schlub meet a mysterious, bubbly stranger who brings love into his life and changes everything.
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