Modern audiences may find a lot to object to in Week-End Marriage, one of many films of the period that tackled the question of whether women should work if they are married. As did most of these films, Week-End eventually comes down solidly in support of letting the man wear the pants -- and it does so in a most insulting and irritating manner. The attitude that a woman must be subservient to a man is pushed home forcefully at the end -- yet before that, there are hints that the film might be willing to take a different stance, a fact which only makes the end that much more objectionable. Aside from the message being problematic, the screenplay also suffers from being a bit dull; it provides plenty of conflict, but does so in a manner that is calculated and uninteresting. Norman Foster is a bit hard to take as the husband threatened by his wife's ability to bring home the bread, and although Loretta Young's work is appealing, she's not at her best here. The best performance by far, and one that makes Week-End worth watching, comes from Aline MacMahon, who lights up the screen and provides plenty of laughs.