Colibel Terrible acting, screenplay and direction.

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

Leoni Haney Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.

edwagreen In my opinion, one of the best romantic comedies that ever was made is "Weekend at the Waldorf." This 1945 film has dramatic overtones and a cast worth pots of gold.The movie is so good because the plots don't stop getting twisted. It's basically the story of 2 women finding romance and love at the famous hotel.When stenographer, a sweet and pert Lana Turner, finds love with GI Van Johnson, who is facing an operation, she has the opportunity to break out of her 10th Avenue existence, by working for Edward Arnold, in his usual craft role; this time as the phony executive trying to pull a deal with Arabs.Secondly, we have Hollywood star, Malvern, played to the hilt by Ginger Rogers, who is lonely. She finds romance with war correspondent, Walter Pidgeon, a great guy with some designs of his own.Notice Rosemary De Camp's authentic European accent in the film. An absolute gem of a film which shouldn't be missed. The film trumpets a bygone era.

MartinHafer This film is a reworking of the plot from the magnificent GRAND HOTEL (1932). While both films were made by MGM, it really isn't fair to compare them, as there were many differences between them (all the many plots were changed or enormously reworked). Plus, GRAND HOTEL was so perfect that any film compared to it will no doubt be seen as a disappointment--but WEEKEND AT THE WALDORF was anything but a disappointment. There was enough fresh and new plot as well as excellence all around that I strongly advise viewers to watch them both and consider each a unique viewing experience.While Walter Pidgeon, Ginger Rogers, Lana Turner, Edward Arnold and Lana Turner (among others) can't quite compare to the cast of GRAND HOTEL, this is still an amazing lineup of stars--even for the star-laden MGM. Plus, all the stars were at their best--thanks, in part, to exceptional writing and slick production values. Each of the subplots worked very well--particularly the one with Rogers and Pidgeon, as it made me laugh out loud many times! I could explain all the plots and critique each one, but other reviewers have already done this. The bottom line is that this film exudes quality and is highly entertaining. By the time the film is completed, you will no doubt feel quite content with the resolution of the film.

carvalheiro "Week-end at the Waldorf" (1945) directed by Robert Zigler Leonard is a bit of New York City and because of that, it is also a curious movie well illuminated by light inside the shadowy rooms, the elevators, the hall, the corridors and the floors, the views from the windows, even the decoration of the doors, when a kind of candidate for a burglar of high society and a melancholic actress lodged each one there, somewhere with a common door. That is the core of the story with countless sparks and stark's episodes, also a Mexican orchestra and a visit of a business delegation of a given country from an important region from the world. The oil affair is there as background of a trick for happiness like the loneliness of a gentle man officer remembering as the recently death of a friend in fighting on the finishing war in Europe. Even a small sequence, here and there of a kind of documentary in the middle of this fiction movie, it was very interesting from the time where "I guess he laughs" it was a line said by this Irene about him. The sensation of claustrophobia that this hotel as location in itself brings to the story is minor. When he goes traveling abroad by plane, this one turns the wings near the skyscraper where from the other side she stays observing it through the window of her room - as in close and counter close perspectives of the shots in the last scene - saying reciprocally good bye visually each other, in spite of distances with him by the small window from the plane as in an aerodynamic view of Manhattan and its architectural modernity of the time from the sky in a competitive way with the gray building of the hotel.

Neil Doyle MGM updated its "Grand Hotel" storyline, gave the four principal roles to Walter Pigeon, Ginger Rogers, Lana Turner and Van Johnson, set them in some plush hotel surroundings amid a not too involving weekend situation and just let things coast along merrily. When the story sags a little, they even bring in Xavier Cugat and his Orchestra for a Starlight Roof floor show. None of it seems real, not for a moment, but it's all as light as the frosting on a cake and no one expects you to shed any tears as they did with the original story.The ladies have the camera in love with them most of the time. Rogers and Turner are both seen at their photogenic best and give assured performances in roles that require a modicum of thespian talent.Rogers gives the more effortless portrayal, clearly having a good time when she finds herself in a situation not far removed from those she shared with Fred Astaire in many an RKO romantic comedy. Turner is there for eye candy and little else. Van Johnson is enthusiastically boyish as the Army man concerned about his health and Walter Pigeon is as debonair as always as a pipe smoking war correspondent who has marriage on his mind with Rogers as his prospective bride.It's all photographed in dreamy MGM style, everything smoothly crisp with the story shifting back and forth between a couple of minor sub-plots involving Edward Arnold, Phyllis Thaxter and Keenan Wynn.Ginger Rogers has never looked more glamorous as the worldly movie star who is not quite sure whether she yearns to be alone and Walter Pigeon is excellent as the man who eventually wins her heart.Pleasant fluff, but easily forgotten. A nice cast does what it can with stock characters and that's about it.A warning: The ending is unbelievably theatrical and corny.