Bernie 39;s Movies

[Kevin]

Weekendat Bernie's is a 1989 American dark comedy film directed by Ted Kotcheff, written by Robert Klane, and starring Andrew McCarthy, Jonathan Silverman, Catherine Mary Stewart, and Terry Kiser. It tells the story of two young insurance corporation employees who discover that their boss Bernie is dead after arriving at his house in The Hamptons. While attempting to convince people that Bernie is still alive until they can leave to prevent them from being falsely suspected for causing his death, they discover that Bernie had in fact ordered their killing to cover up his embezzlement. Weekend at Bernie's grossed $30 million on a $15 million budget.

Larry Wilson and Richard Parker are two low-level financial employees at an insurance company in New York City. While going over actuarial reports, Richard discovers a series of payments made for the same death. He and Larry take their findings to the CEO, the wealthy and hedonistic Bernie Lomax, who commends them for discovering the insurance fraud and invites them to his beach house in The Hamptons for the Labor Day weekend. Unbeknownst to the pair, Bernie is behind the fraud. Nervously meeting with his mob partner Vito, Bernie asks to have the two killed to cover up the discovery. After Bernie leaves, Vito orders that Bernie himself be killed for sleeping with Vito's girlfriend Tina.

Bernie arrives at the island before the pair and plans the murders with hitman Paulie on the phone, unaware the conversation is being recorded on his answering machine. Paulie arrives and kills Bernie with a lethal heroin injection, then stages it as self-inflicted accidental overdose.

When Larry and Richard arrive they find Bernie's body but before they can call the authorities, guests arrive for a party that Bernie usually hosts every weekend. To the pair's amazement, the guests are too busy partying to notice he is dead, with his dopey grin from the injection and sunglasses concealing his lifeless state. Fearing implication in Bernie's death, and wanting to enjoy the luxurious house for the weekend, Larry proposes he and Richard maintain the illusion that Bernie is still alive, which Richard finds absurd. He changes his mind when Gwen Saunders, a summer intern for the company with whom he has a flirtatious relationship, also arrives.

After the party, a drunken Tina arrives at the house and demands the pair direct her to Bernie. However, she also fails to realize the situation and has sex with his corpse. One of Vito's mobsters witnesses this and, mistakenly thinking Bernie's assassination failed, notifies Vito, who sends Paulie back.

The next morning, Richard is appalled to discover Larry furthering the illusion by manipulating Bernie's limbs. He attempts to call the police but instead activates the phone message detailing Bernie's plot against them. Unaware of how Bernie died, they mistakenly believe they are still the targets of a mob hit and, as Bernie had said not to kill them while he was in the area, decide to use Bernie's corpse as a shield. All of their attempts to leave the island are thwarted, as they repeatedly misplace and recover Bernie's body, and eventually are forced to return to Bernie's home. Meanwhile, while they are not looking, Paulie makes numerous other assassination attempts, and grows unhinged at his repeated "failures".

Gwen, who has been trying to talk to Bernie, was walking on the beach when she sees Larry and Richard with the body. This forces Larry and Richard to reveal his death to her. Paulie then arrives and repeatedly shoots the corpse before turning his attention to Larry, Richard, and Gwen. Chasing after the trio, Paulie corners Larry, who subdues him.

The police arrive and arrest Paulie, taking him away in a straitjacket as he continues to insist Bernie is still alive. Gwen invites Richard to stay with her family for the week while Larry decides to go home to give them space. Bernie's body is loaded into an ambulance. However, the gurney rolls away and topples off the boardwalk, dumping the body onto the beach right behind the trio, who run away in terror. Afterwards, a young boy, who earlier buried the body in the sand, comes along and starts burying it again.

Jon Cryer was originally cast in the film, but was replaced by Andrew McCarthy.[4] Shooting took place in New York City in August 1988. The Hamptons scenes were filmed at Bald Head Island, North Carolina, Bernie's house was filmed at Fort Fisher, North Carolina, and the ferry scenes were filmed at Wrightsville Beach, North Carolina.[1]

On Rotten Tomatoes, it holds a 54% approval rating based on 26 reviews. The website's consensus reads, "Weekend at Bernie's wrings a surprising amount of laughs out of its corpse-driven slapstick premise, but one joke can only carry a film so far."[5] On Metacritic, it has a score of 32 out of 100 based on reviews from five critics, indicating "generally unfavorable reviews".[6] Audiences surveyed by CinemaScore gave the film a grade of "B" on scale of A+ to F.[7]

Peter Travers of Rolling Stone called the film "tasteless" and "crude" and felt that in the end it was impossible to "drag one tired joke around for nearly two hours. Like Bernie, the movie ends up dead on its feet."[8] Roger Ebert echoed this sentiment, arguing that movies centered on dead bodies are rarely funny. Ebert gave the film 1 out of 4 stars, stating "Weekend at Bernie's makes two mistakes: It gives us a joke that isn't very funny, and it expects the joke to carry an entire movie."[9]

The film's closing credits feature the song "Hot and Cold", performed by American singer Jermaine Stewart. It was written by Andy Summers and Winston "Pipe" Matthews, and produced by Richard Rudolph and Michael Sembello.[14] The song was released as a single by Arista in the United States during June 1989 to promote the film.[15][16]

On January 24, 2014, director Ted Kotcheff and screenwriter Robert Klane filed a lawsuit against Metro-Goldwyn-Mayer and 20th Century Fox for breach of contract for profits they claimed were due from the film.[17][18][19]

No movie explores the idea of death quite like Weekend at Bernie's. Thousands of movies do, but they usually romanticize the idea of dying or the afterlife. I don't know any other movies about a corpse being a corpse for over an hour. It's weird and wrong in the best possible way a movie can be weird and wrong. The only movie I know to be weirder and wronger while actively trying to be fun and engaging is Weekend and Bernie's II. That's right. This baby is a sequel and there's no way I could've finished this week without discussing one of the most blissfully stupid movies I've ever seen.

Weekend and Bernie's II starts at the morgue, right after the events of the first movie. The film itself was shot three years after the first (production was in 1992), but no time has passed whatsoever. Andrew McCarthy and Jonathan Silverman looked identical anyway, so it made things easier. Our protagonists Larry and Richard get fired from the insurance firm after Bernie Lomax's fraud is exposed. The new boss believes the two helped Bernie embezzled two million dollars and tasks the internal investigator to prove their guilt. They're not the only people after the money, though. Bernie's mob associates hire a voodoo queen (Novella Nelson) to help them find the money. She tasks two henchmen to reanimate his body and lead them to the jackpot, but they're not very smart or good at their job.

So, Bernie Lomax (Terry Kiser) becomes a situational zombie in Weekend and Bernie's II. He only animates when there's music playing. The movie is basically a treasure hunt musical lead by a zombie, set to silly pan music. You've read that right. And unlike for Weekend at Bernie's, every important character is fully aware that he's dead. Everyone is after the same thing: Bernie's hidden offshore money and there is no ethical qualm about raising him from the dead to do so. Of course, if you watch this movie you're aware that Bernie Lomax was a hedonistic stereotypical antagonist of his living, but so is everybody else: the insurance firm is looking to hide a two million dollars loss to share holders, the mob are basically in this movie to provide a threat of gun violence and our protagonist Richard and Larry are committing several crimes going after a dead guy's wealth. Including, you know, this.

If Weekend at Bernie's explored the shallow and self-absorbed lifestyle of the eighties, Weekend and Bernie's II is definitely a movie about greed. Taken out of context, the premise couldn't be any more depressing and it's part of what makes the Bernie Lomax movies so goddamn funny. They are absolutely shameless. Unlawfully going after a dead person's money is a heinous crime, but Weekend and Bernie's II is hilariously unsentimental about its themes. Dead is dead and a dead guy's money is fair game if there's no lawful heir to claim it. There is no such thing as legacy in a world dominated by mobster and corrupt businessman. Money is a faceless and fluid commodity with a transformative power that applies to everyone just the same. Weekend and Bernie's II is, once again, a pretty nihilistic movie but like a good nihilist would, it find a ways to laugh at just about everything.

Movies have been fascinated with the idea that death is not the end for a long time. What makes the Bernie Lomax movies special is that death is very much the end in them. He's the only character that dies in both films and he remains dead, which makes him the most endearing character. I don't believe movies like Weekend and Bernie's II would get produced today. They are mementos from a foregone era in the movie business where you could take risks because you weren't force to put all your chips in on every project. It's summer, theaters are full of long and self-important movies featuring things that explode every five minutes so do yourself a favor: stay home and watch Bernie Lomax being dead. He is perhaps the best cadaver in the history of movies.

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