43 Summer Movies That Feel Like a Trip to the Beach Whether you're looking for high school-set film like The Weekend at Bernie's. Weekend at Bernie's (1989) YTS Magnet - Download yify movie torrent, Two losers try to pretend that their murdered employer is really alive. Weekend at Bernie's. Directed by: Ted Kotcheff. Starring: Andrew McCarthy, Jonathan Silverman, Catherine Mary Stewart, Terry Kiser.
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Andrew McCarthy: ‘Brat: An ‘80s Story’
This week on The Treatment, Elvis welcomes writer, director and actor Andrew McCarthy, whose newest book, “Brat: An ‘80s Story” details his time as an ambivalent member of the infamous “Brat Pack,” a group of actors who starred in many of the decade’s most popular films. McCarthy is known for acting in many of them himself, including “Pretty in Pink” and “St. Elmo’s Fire,” but he has worked extensively as a television director and a travel writer. McCarthy discusses the freedom he is able to achieve as a writer that was rare for him to experience as an actor. He says he only writes for himself and not with the idea that anyone else will read his writing. And he looks back with affection at his role in “Weekend at Bernie’s.”
The following interview has been abbreviated and edited for clarity.
KCRW: Welcome to The Treatment, the home edition. I'm Elvis Mitchell. What can you say about a man who's worked with people from John Hughes to Claude Chabrol? All I can say is I'm glad he's doing the show. His new book as writer is "Brat." I'm a big fan of his book, "The Longest Way Home." My guest is Andrew McCarthy. What I thought was really interesting about the position between "The Longest Way Home" and "Brat" is that it gets to that question about why you want to do this. In "Brat," you talked to Alec Baldwin, and he said, maybe you didn't want to be famous. But I wonder if it's the difference between being a writer and being an actor. As a travel writer, you want to get lost in the situation and be able to analyze it; as an actor, you want to be lost in a situation, and just let yourself go in the current.
Andrew McCarthy: Yeah, you want to embody it in a way without any kind of third eye analyzing of it when you're acting, and in writing, you absolutely want to have that critical eye. One of the things that got in the way eventually of my acting was I developed more and more of that critical eye of it, and I didn't lose myself in it as much as I did when I was younger.
KCRW: In reading your work as a writer, I‘m fascinated by your ability to really distance yourself from something as it is happening to you. And I just wondered if you found it easier to get lost in material on stage than when you were making movies because of that connection with the audience with the actors and the audience at the same time.
McCarthy: I did always find it much easier to stay embedded in it when I was acting on stage for those reasons you're saying and I think, in the writing, because that's where I'm in my life. I'm in it; I'm out of it; I'm in it. And so that suits writing, whereas it doesn't suit acting as much.
KCRW: This all comes down to a question of directing. And it's interesting reading your stuff about Chabrol, who's one of my favorite filmmakers.
McCarthy: Chabrol is truly the only artist--it's not a term I generally like to use--but the only artist I've ever worked with. I found working with Chabrol such an exciting and just joyous time, and he loved cinema. And he loved making it, and he loved talking about it. It is one of the things that people who continue to be vital into old age have, which is that he remained constantly curious and interested outside of himself. He was interested in everything other than himself and food.
I do find that critical eye and that distance and the ability to kind of be in it for a second and be out of it in the next is very helpful for directing. John Cleese gave a great speech about creativity, and it's in his lovely little book about creativity about being in what he calls the open and closed mode. When we're closed, we're deeply embedded in it, and there's no room for any outside input. And then we call cut, and you have to suddenly be open and critical and go, okay, what's working, what's not working, and to be able to switch between those two is essential, I think for a good director, whereas in acting, you just simply want to be in it and then be open for input. But you don't want to have that critical, judgmental eye.
KCRW: Chabrol seemed to be one of the few directors you worked with who legitimately loved actors, and he actually calls you out in the moment where he's offering you a piece of direction that you don't really want to follow.
McCarthy: It's the best direction I ever got. He said, my dear boy, it's your part. I gave it to you; ruin it if you want. So I did what he asked. I used to go to the set when I wasn't working just to watch him film. And one day he was in a castle and he was filming just the castle on the different inserts and different shots of just the building itself. And I said, Chabrol, this is your dream: shots with no actors in them. He said, yes, it is my fantasy. He loved, loved actors, but he also just loved the camera and moving the camera and playing with the camera.
One time I was in a shot, and he was on me, and then he panned down to look at a woman. And then the next thing we ended up in bed together, and during one take, I turned to look at the woman, and he went, cut! What are you doing? I said, I was motivating your camera to pan down to the woman. He said, you don't motivate my camera. I motivate my camera. And I thought it was a fantastic thing, and I've adopted it directing.
KCRW: You clearly have the same interest in people, too. You can see your interest in people in the way it comes out in the travel writing, but also going back and recounting your life in the book and just reading the way you talk about your father, charting his movement through life, and contrasting with your own.
McCarthy; That's nice of you to say, but I think one of the challenges is I've had a great fear of people as well throughout my life for whatever reasons. And some of it may have to do with my father in that regard. But that interest has been at war at times with a certain fear of it. So that conflict is something I've always had, that sort of push/pull ambivalence about pretty much everything. But I do actively try and stay curious and interested because the people I admire, it's the one common trait I see among them.
KCRW: In the book you write when you stop self medicating, you're able to just really be in the moment with people. When you read "The Longest Way Home" and then read this, you can see your maturity coming into play.
McCarthy: It was interesting to go back and look at that stuff because that period of my life that I talk about in "Brat" from when I was making those movies, is something I never looked at. Since I did stop drinking almost 30 years ago, I have tried to be very awake and present. And during a lot of making those movies, I was not in that state, so I was just reacting to situations. I often think that was just what happened to me in the 80s, those films, and I didn't have my hands on the wheel in a certain way, and I was just reacting. Whereas since then, I've tried to very actively participate in what befalls me.
So I did write those books backwards and it was interesting to go back and look at all the stuff that happened in the 80s, and all those movies really were just an outgrowth of whatever unconscious things I learned as a kid and was just trying to tread water as fast as I could. One of the things that stopping drinking did for me is I learned how to live, I guess, in a certain way. So it's one of the worst things that happened to me: my drinking problem. But really, in many ways, it was the greatest thing that ever happened to me, not getting sober and stopping drinking, but the fact that it existed in and of itself, may have been one of the great things that ever happened.
KCRW: Can you talk about that a little bit more?
McCarthy: I mean, we're the strength of our flaws, right? The fact that I was so addicted to alcohol, and that was my lot. I always put a disclaimer: it was not because I was successful in movies that I was too successful, too young and started drinking, I drank because I had a real affinity for alcohol. You know, people always talk about overcoming the obstacles, as a great thing, but then certainly the obstacle itself is the great thing. You know, not when you're stuck in it, but once you overcome it, it just becomes the nut from which the tree grows.
KCRW: You wrote about doing that scene in "St. Elmo's Fire" where you start to sing, and it's a moment of just kind of planting your foot and feeling the moment and being who that character is and finding that character. One of the things that interests me in your writing in those moments is you find a kind of freedom, and that's one of those moments.
McCarthy: Yes, it was a moment of freedom. You could draw a straight line from me being self conscious about singing and needing to get a solution, which is what I found with the bongo drums and doing all that gave me that which triggered the freedom. But because I was so self conscious about singing, that dates back to when I was in high school, and was told I was tone deaf, because I deliberately sang badly, and I harbored all this anxiety about it all those years. But the liberation from that in playing the bongo drums, that kind of freedom is something I rarely get. And it is delicious when you have it. And I think it's very attractive when you see it in other people.
KCRW: Those moments where you get lost in something in your writing, it's the same sort of clarity, you find in these acting moments, these moments of expression that you write about in "Brat."
McCarthy: Well, I do think you're right, in that I feel most free when I'm writing stuff because I'm a fairly private person, and then the idea to write all these personal things, it seems contradictory in a certain way, but I find that very liberating. I enjoy the intimacy with myself when I'm writing and uncovering that stuff. While I'm writing it. I don't anticipate anyone reading it, or I would never write anything. I think that's true of most people.
KCRW: Wait, is that true for you, you don't anticipate anybody reading these things?
McCarthy: I never think about it. I couldn't write anything. I write it, I think, to the 15 year-old in myself. If I anticipated someone reading it, a grown up or a stranger, I don't think I would write it. I have played tricks with myself. You write something and you're like, I'm never gonna put this in the book, but I'm just going to write this to get it out of my system, so I can move on. And I'd write the whole paragraph, but there's no way it would be in the book. And then I read it back and I go, well, that's what the last 20 pages have been leading up to. If I don't put this in, there's no there there. So once I played that trick with myself and knew that I was going to keep those things in, I don't have to play with myself anymore. But I don't want to think about the reader while I'm writing because that's what got in the way of my acting to go back to what we were first talking about. That kind of self awareness or self consciousness, I guess. Self awareness is lovely; self consciousness and/or vanity, whether it's in the mirror or on the page is not helpful to creating something.
KCRW: So often you play characters who seem to be doomed by their sense of self awareness.
McCarthy: One of the things I found about the “Brat Pack” was I felt I was so not what I was being labeled. I felt like I hadn't even come out of the gate yet, and I was boxed, and I didn't like that. But you know, I always had that looking at self, and I didn't feel the need to try and be a man, which I think a lot of my contemporaries did at a young age. Then that helped me find my niche of kind of a “sensitivity,” or detachment.
KCRW: These characters to some some extent knew who they were, and there's that weird tension in "Pretty in Pink" because this guy is sort of doomed by that. You mentioned Tennessee Williams a couple of times in your travel writing, and I just found that sense of those kinds of characters, be it Brick or somebody else, who are teetering between boyhood and adulthood, who know something about themselves and don't like it.
McCarthy: I just re-watched "A Place in the Sun," the Montgomery Clift movie, and "East of Eden" and they both had that quality so strongly. Their words are doing one thing, but inside they're just feeling something 180 degrees, and I just find that so compelling.
You know, one of the things about "Pretty in Pink," maybe because I was so miscast: that part was written to be a football star, broad shouldered jock. And I was so not that, and my lead card, as it were, would be a kind of sensitivity or self awareness. It was so the opposite of the part, and it was so decided because Molly Ringwald liked me, for that part, that I got it. But why I almost didn't get the part was the exact reason I was successful in the part because of that kind of ambivalence and self awareness and not feeling like you fit into society in a certain way. That's a kid who grew up rich and yet, he didn't feel like he fit in. Molly's character didn't feel like she fit where she was, and that's where they met.
KCRW: You actually talk in really interesting terms about a performance of yours that I've always liked, and I'm glad you don't turn your nose up at it, which is "Weekend at Bernie's.” We're talking about freedom, and there's a lot of physical freedom in that character.
McCarthy: I love that guy. Bernie's aged very well. I was absolutely free in that movie, and I'm not sure why. It's much more close to my personality than many of the sensitive roles I've played. He has that silliness and that just dumb stuff, just the joy of life that, you know, I occasionally allow that I really appreciate in myself and wish I was free to let it run more. But I do love that movie. And I like that character a lot.
KCRW: Thinking about Ted Kotcheff and Chabrol, I feel like these guys in some ways inform you as a director because you're prone to letting us see what the actors are doing. Especially something like "Orange is the New Black" there's so much going on; we really need to see how actors physically inhabit a frame, and that's something those guys did. They gave you space and freedom to move. And I feel that's one of your strengths as a director.
McCarthy: I do think behavior should dictate everything and not dialogue. Most TV is run by writers who write dialogue, and TV is very dialogue heavy. Because I come from acting, the kind of acting I come from and that interests me is very behavior oriented. The one aspect I have where I start everything from directing-wise is blocking. And I've learned I have a nice visual sense, which is really helpful. And yes, I know how to talk to an actor. But the physical life of the actor is first and foremost to me, and so if I block well and I give the actor good behavior and good business to be doing that's truthful, you can never go wrong. And then suddenly, from my perspective, shots all fall into place and you build from that.
KCRW: So much of TV, too, is basically like a medium close up even though there's an understanding now that people have bigger frames than they used to to watch at home. And you don't think like that. Clearly, your training as an actor and being in movies and working with directors, who have done a lot of master shots, has taught you something.
McCarthy: Well, I also think in television, like you say, you're going to end up in that mid-shot or the close-up. You're going to get there and you have to get there. But, say you have 40 to 50 scenes in a television show, what you're going to have then is 40 to 50 transition shots. And where TV directors make their mark, saying most scenes are going to end up in the close-up or the mid-shot are those transition shots. And so I will go super tight, and then super wide to make those transitions, and that's where directorial style in television shows will come in.
KCRW: Again, it's interesting to read "Longest Way Home” and then to read "Brat" as you see this almost page by page evolution of you as an artist.
McCarthy: Well, I do give myself great freedom, like the writing I just do for me. I have to make a living as an actor and director. That's my job. The travel writing has always been for fun and for free. But even acting: I didn't know how to do anything else. I do them because I love to do them.
You know, when I became a travel writer, that's not a very upwardly mobile thing from being a movie actor. I love travel writing, and it's appealed to me on such a deep level that that's just where I went. I don't lie to myself very well. I don't do something well if I'm not enjoying it. I look at TV shows that I didn't want to direct and I just knocked them out, and those are very good episodes whereas other shows I really like I can do well.
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Weekend at Bernie's II
1993 black comedy film
Weekend at Bernie's II is a 1993 American black comedy film written and directed by Robert Klane. It is the sequel to Klane's 1989 comedy Weekend at Bernie's. Andrew McCarthy, Jonathan Silverman and Terry Kiser reprise their roles. The film was panned by critics and was a modest success at the box office, grossing $12.7 million against a $7 million budget.
Larry Wilson (Andrew McCarthy) and Richard Parker (Jonathan Silverman) are at a Manhattan morgue where they see their deceased CEO Bernie Lomax (Terry Kiser). Larry falsely claims Bernie as his uncle, so he can get some of Bernie's possessions including Bernie's credit card. At the insurance company, Larry and Richard are quizzed by their boss and Arthur Hummel (Barry Bostwick), the company's internal investigator, who ask the two if they have the US$2 million that Bernie embezzled. They deny knowing where the money is, but their boss believes that they are lying and fires them. He also sends Hummel after them, giving him two weeks to prove their guilt.
Over dinner (paid for with Bernie's credit card, in one of its many uses), Larry tells Richard he found a key to a safe deposit box in St. Thomas, U.S. Virgin Islands, and asks Richard if he will use the computer at work to see if the $2 million is in Bernie's account. At first Richard refuses but ultimately gives in.
Meanwhile, in the Virgin Islands, a voodoo queen named Mobu (Novella Nelson) is hired by mobsters to find the $2 million Bernie stole. She sends two servants—Henry (Steve James) and Charles (Tom Wright)—to go to New York, get Bernie's body, use a voodoo ceremony to reanimate him, and bring him back to her so he can lead her to the money. Their attempts to bring Bernie back are plagued by accidents. They prepare in a bathroom at a sleazy porno theater for the voodoo ceremony, but having lost the sacrificial chicken, they use a pigeon instead. This limits Bernie's ability to walk toward the hidden money: he only moves when he hears music. At the 42nd Street–Grand Central subway station, Henry and Charles soon abandon him to chase a man who stole their boombox.
Later that night, Larry and Richard sneak into their office building to check Bernie's account, only to find that Bernie is the only one that can open it. They are soon arrested by officers for breaking and entering. After their release, they find Bernie (whom they believe is still dead), stuff him into a suitcase, bring him with them to the Virgin Islands, and put him into a small refrigerator in their hotel room. Unbeknownst to the two, Hummel is following them to recover the embezzled cash. The guys successfully use Bernie to open his safety deposit box but they only find a map. Meanwhile, Larry befriends a lovely native girl named Claudia (Troy Beyer), and gives her the map. Later, he and Richard are captured by Henry and Charles, who take them to Mobu. With one of the mobsters holding a gun to his head, she forces Richard to drink a poisonous concoction of a potion and tells them they must find the map by sundown to get the antidote.
When Larry, Richard, and Claudia are reunited, they are shocked to discover that Bernie is moving and realize he is leading them towards the $2 million. To keep him moving, they put a Walkman with headphones on his head. As Bernie finds a large chest underwater, their resulting excitement causes Larry to accidentally shoot Bernie in the head with a speargun, destroying the headphones. They attempt to bring Bernie back to the surface but he will not let go of the chest, which is too heavy to hoist out of the water. They end up attaching Bernie to a horse carriage with music playing. It seems to work at first, but when they go downhill, the carriage goes out of control. Eventually, the carriage ends up at Mobu's place. Bernie hits a large tree branch and spins into a somersault before knocking out Mobu. The crash also causes Bernie to drop the chest on the ground and it breaks open. Larry tries to scoop up the money but is caught by Hummel (now slightly unhinged upon seeing the undead Bernie walk) and he gives the $2 million to him. With Mobu out of commission, Claudia's father, a medical doctor, says that he can cure Richard if he can get the blood of a virgin (which Larry confesses he can provide). The mobsters and Mobu are arrested.
Larry confesses to Richard that he returned the $2 million to the insurance company, but only after learning Bernie actually stole $3 million. Larry and Richard use some of the remaining million to purchase a yacht crewed by attractive women. Meanwhile Bernie is last seen leading Henry and Charles, who have been transformed into goats by voodoo, through a carnival parade to an unknown fate.
Weekend at Bernie's II was filmed in 1992 in the Territory of the Virgin Islands of the United States and in New York City. The cast and crew, who were mainly from the Los Angeles area, were on location when the Los Angeles riots of April 1992 broke out and they stated in a St. Thomas interview that they were worried for their loved ones. The Bernie dummy used in the film had been on display for the film's debut shortly before the riot's outbreak, and was robbed of its painter's hat and $400 sunglasses.
Weekend at Bernie's II earned mostly negative reviews from critics, earning a 10% approval rating on Rotten Tomatoes, based on 29 reviews. The website's consensus reads, "It would appear to be all but impossible to make a worthwhile sequel to a comedy about a corpse's exploits—odds Weekend at Bernie's II never comes close to beating." Audiences surveyed by CinemaScore gave the film a grade of "C+" on scale of A+ to F.
Hal Hinson of the Washington Post wrote: "If the premise of the first film was mindless and repetitive, it's doubly so this second time around."Entertainment Weekly gave it a grade "F".
David Rooney of Variety called it "a mildly diverting farcical caper." Stephen Holden of The New York Times gave the film 3 out of 5 and praised Terry Kiser for his performance: "Through it all, Mr. Kiser, who says not a word, exudes the foolish amiability of a partygoer who is beyond plotzed and is living in a private world of his own."
The movie had modest box office success, grossing $12,741,891 in the US and Canada.
In popular culture 
Weekend at Bernie's II is mentioned in the eighth season episode of Seinfeld, "The Comeback". The movie is featured in the staff picks shelf at a video rental store, under "Gene's Picks". Kramer recommends it to Elaine (as "a hilarious premise") instead of a staff pick by "arthouse goon" Vincent. Elaine rents it, only to be disappointed and eventually yell "Bernie's dead, you morons!" at the television while watching it.
Similarly, in an episode of NCIS a character who needs to establish an alibi is too embarrassed to say which film he had been watching. The team assume he was watching a porn film, but he eventually admits it was Weekend at Bernie's II, to which film geek Agent DiNozzo says, "Even worse."
The movie is referenced in the How I Met Your Mother episode "How Lily Stole Christmas" when Ted attempts to insult Lily for having a poor sense of humor. "Remember that time we heard her laughing, and we thought she was watching Weekend at Bernie's but it turned out she was watching Weekend at Bernie's II!" This movie is also referenced in the How I Met Your Mother episode "Weekend at Barney's".
Beavis and Butt-Head references this movie in the episode "Most Wanted", where the main characters watch a commercial for the movie Weekend at Bernie's Part 7, which features the tag line "Bernie's still dead, and he's stiffer than ever!" Bernie is shown being visibly decaying at this point.
Similar to Beavis, Rick and Morty would also parody the premise of the Bernie's series in their episode "Rixty Minutes", wherein in an alternate universe, the titular characters', respectively, son-in-law and dad Jerry Smith (in said universe a popular movie director, star, and celebrity altogether because he had not gotten together with his wife, Beth), is revealed to have written and directed a film entitled Last Will and Testimeow: Weekend at Dead Cat Lady's House II, wherein a group of cats is seen attempting to act as their owner after they die in their sleep. This includes dating, making out with, and ultimately engaging in sexual intercourse with their owner's estate holder, despite, as in Beavis, the body visibly fighting to keep from decomposition, to the point one cat has to open the mouth, which is not only rotting, but is seen to have maggots inside. This would be the last film "directed" by Jerry, as at its release party, Jerry suffered a nervous breakdown, reportedly evoked by a stack of magazines in the bathroom at the party (one of which featured Beth on the cover). He subsequently cut off his big toe, as well as most of his hair, stole the woman's motor scooter ("paying" them with what was later revealed to be worthless R2D2 coins), and rode all the way to Beth's house, where they proceed to have an intimate talk and reunite in-universe.
On The Eric Andre Show, specifically the Season 5 episode The ASAP Ferg Show, the titular host, Andre, "reenacted" the Bernie's series by walking around with someone dressed as, and acting dead like, Bernie, going up to random people and letting them know (despite a majority of people not having any interest); he even specifically mentioned the sequel by name.
Movin' Like Bernie
Inspired by the movement of the film's namesake, a style of dance was created called "Movin' Like Bernie". Homemade films went viral on the Internet, from children to soldiers serving overseas. Even professional athletes began performing the dance, including Baltimore Ravens running back Ray Rice after scoring a touchdown during a nationally-televised January 2011 game against the Pittsburgh Steelers.
The 2012 Oakland Athletics adapted "Movin' Like Bernie" into their celebration routines after Coco Crisp played the song for third baseman Brandon Inge in the team's clubhouse before a game. Players such as Josh Reddick would perform the dance after a home run, big hit, or walk-off victory.
- ^Holden, Stephen (1993-07-10). "Movie Review – Weekend at Bernie's II – Review/Film; Bon Vivant Still Lives. Or Is It Dies?". Movies.nytimes.com. Retrieved 2012-07-07.
- ^ ab"Weekend at Bernie's II (1993) - Financial Information". The Numbers. Retrieved 2 September 2018.
- ^TV Guide, May 11th, 1992
- ^Weekend at Bernie's II at Rotten Tomatoes
- ^"Cinemascore". Archived from the original on 2018-12-20.
- ^Hal Hinson (July 10, 1993). "'Weekend at Bernie's II' (PG)". Washington Post.
- ^"Weekend At Bernie's II". Entertainment Weekly.
- ^Rooney, David (17 February 1993). "Weekend at Bernie's II". Variety.
- ^Holden, Stephen (10 July 1993). "Review/Film; Bon Vivant Still Lives. Or Is It Dies?". The New York Times.
- ^"Weekend Box Office : The Number-Crunchers Are Smiling". Los Angeles Times. 1993-07-13. Retrieved 2012-07-07.
- ^NCIS, season 3, episode 13 - Deception, January 17, 2006.
- ^Soldiers Movin' Like Bernie 2. 2012-01-26. Retrieved 2012-07-07 – via YouTube.
- ^Ray Rice Is Movin’ Like BerneyArchived January 21, 2011, at the Wayback Machine
- ^"Bernie Weekend". Oakland Athletics. Retrieved 2012-08-27.
Released July 5th 1989, the dark comedy that is Weekend At Bernie's was overshadowed at the box office by Batman, Lethal Weapon 2, Licence To Kill, Ghostbusters II, Honey I Shrunk The Kids, Indiana Jones And The Last Crusade (man, 1989 was a brilliant year for film) and Star Trek V: The Final Frontier (meh) to name just a few of the blockbuster hits released around the same time. But once Weekend At Bernie's arrived on home video it soon became a cult classic and spawned a (not very good) 1993 sequel.
So, on the anniversary of its release, here are five fast facts about Weekend At Bernie's. Oh, and here's one for free - the actor playing Bernie wasn't actually dead!
1. No, Terry Kiser, who played Bernie, certainly wasn't dead but he didn't have it easy acting as a corpse for the vast majority of the film. Having an even harder time was Kiser's stunt double who suffered multiple broken ribs. They occurred during the filming of the scene in which Bernie falls from the back of a speedboat and is dragged around the surface of the ocean, bumping into several metal floating obstacles.
2. Weekend At Bernie's starred Jonathan Silverman as Richard Parker and Andrew McCarthy as Lawrence "Larry" Wilson, but before the film was cast it was considered a potential vehicle for Corey Haim and Corey Feldman.
3. The film's director, Ted Kotcheff, made a cameo as Richard's father (the man who comes out in his underwear and blows his cover).
4. In Weekend At Bernie's, Larry & Richard uncover an accounting fraud and take it to their CEO, Bernie Lomax, unaware that he's the source of the fraud.
In 2014, director Ted Kotcheff and writer Robert Klane alleged in a lawsuit against 20th Century Fox and MGMthat they were victims of a similar fraud. The pair claimed their contracts for Weekend At Bernie's included a percentage of its profits, which would amount to millions of dollars, of which they had not seen a penny.
It's unknown if Fox/MGM then invited them to the Hamptons to spend the weekend at their Long Island beach house!
5. Weekend At Bernie's was not a hit with reviewers, but is often referenced in popular culture. In the Friends season 4 episode "The One With the Embryos" Weekend At Bernie's is named as Rachel's favorite movie after a trivia contest. The film is also mention in season 1 when Chandler says "We don't have to watch this. Weekend at Bernie's is on Showtime, HBO, and Cinemax" before his mom Nora appears on The Tonight Show.
Weekend at Bernie's is also referenced in many episodes of the TV series How I Met Your Mother. Notable is the "Weekend At Barney's" episode in season 9 in which Barney imagines himself in the role of Bernie.
Weekend at Bernie's YIFY
Synopsis Of Weekend at Bernie's Torrent Movie On YIFY :
Two losers try to pretend that their murdered employer is really alive, leading the hitman to attempt to track him down to finish him off.
Two losers try to pretend that their murdered employer is really alive, leading the hitman to attempt to track him down to finish him off.
Weekend at Bernie's (1989) Torrent, Download movie Weekend at Bernie's (1989) over a torrent, Weekend at Bernie's (1989) yify torrent, Weekend at Bernie's (1989) magnet torrent, Weekend at Bernie's (1989) quality HD, 1080, 720, 3D, Bluray
Weekend at Bernie's Writers : Robert Klane
Weekend at Bernie's Production : Gladden Entertainment
Weekend at Bernie's Box Office : $30,218,387
Weekend at Bernie's Awards : 1 nomination
Weekend at Bernie's Country : United States
Added By : YTS
Download Count : 28,887
Source : YIFY Torrent
Updated On : February 20, 2020 at 02:00 PM
Weekend at Bernie's;Weekend at Bernie's 2
One would think that to merit a sequel, a film would have to have an absorbing story line, multifaceted characters about whom you would like to know more, or, at the very least, a message that benefits from repetition. As proven by the vile Weekend at Bernie’s (1989, LIVE, PG-13, $14.98) and the even more despicable Weekend at Bernie’s 2 (1993,Columbia TriStar:PG, $95.95),one would be wrong.
It’s a mighty low class of people that you meet in these movies—and a mighty low grade of humor, if you want the honest truth. The first movie’s premise, thin as it may be, is this: Two young corporate climbers (Andrew McCarthy and Jonathan Silverman) uncover a $2 million embezzlement scam at their firm. For their efforts, their boss, Bernie (Terry Kiser), a fairly conventional idiot, invites them to a party at his beach retreat, where the boys find him dead. Heaven forbid a death should cut short their big weekend—it’s obvious these losers don’t get out much—so they pretend he’s still alive by propping him up, manipulating him like a marionette…you get the picture. Because sparkling conversation was probably never part of Bernie’s repertoire to begin with, no one notices he’s dead.
As unbearable as it seems—and trust us, you could expire waiting for these movies to end—Weekend at Bernie’s 2 continues the story as the pair kidnap Bernie from the morgue and take him to the Virgin Islands to withdraw his money from a secret bank account. Enough!
Besides stretching credulity—not to mention bad taste—to a degree rarely reached in major moviemaking, the creators of these films should be reprimanded for not doing their homework. Although most moviegoers have not experienced Bernie’s physical state and won’t recognize many of the films glaring errors, this reviewer is in the unique, if unenviable, position of being able to set the record straight.
A corpse simply cannot manage the myriad positions into which Bernie is bent, twisted and contorted. This reviewer has endeavored to test them, although rigor mortis is an indisputable process that stiffens one’s muscles after death. Thus, it is absurd for a masseuse in which film tk to tell Bernie that his neck has never felt so loose.
Also, it would be physically impossible for Bernie to get up and dance—despite a voodoo spell cast on him—or even appear to walk, as he does in the second film. Not for nothing is ”rest in peace” a common expression; after death, one does not have the musculature to run all over the place, even when supported upright by others. (Corpses are heavy. Note the phrase ”dead weight.”) This review is being dictated rather than written because dexterity—manual or pedestrian—is simply no longer in the cards.
Let us hope that we have seen the last of Bernie. If this is the direction filmmaking is headed, this reviewer, for one, is glad to be in another world. Weekend at Bernie’s: D-Weekend at Bernie’s 2: F
Bosley Crowther, longtime film critic for The New York Times, died in 1981. This review was written through Manhattan-based psychic channeler Laura Steele.
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