- View New Content
- Blu-ray, DVD, Streaming Video and Digital Downloads
- Home Theater Hardware
- Theaters, Remotes and Accessories
- Equipment Reviews
- DVD & Blu-ray Reviews
- Other Diversions
- Bargains and Deals
- Feedback and Testing
- Latest Blu-ray Deals
- Shop Amazon & Support HTF
- Theater Photos
DVD & Blu-ray Reviews
- Equipment Reviews
Blu-ray Release Listings
- Shop Amazon
- Support HTF
DVD & Blu-ray Deals
Categories See All →
DVD & Blu-ray Reviews
As Above So Below Blu-ray Review
Yesterday, 01:08 AM
As Above So Below finds its footage on Blu-ray with a nearly bare-bones edition that doesn’t make this confusing maze of a film any easier to understand. Os... Read More
Wish I Was Here Blu-ray Review - Recommended
Yesterday, 12:51 AM
Wish I Was Here kickstarts itself onto Blu-ray with an edition that offers a solid high definition presentation of this surprisingly effective movie, along w... Read More
I Am Ali Blu-ray Review
Yesterday, 12:35 AM
I Am Ali rope-a-dopes its story onto Blu-ray, with an edition that gives this celebration of Muhammad Ali a good high definition presentation, but cannot esc... Read More
Extant: The First Season Blu-ray Review
Dec 16 2014 02:51 PM
With the Oscar and Emmy-winning duo of Steven Spielberg executive producing and Halle Berry starring, there was much pre-premiere buzz surrounding the futuri... Read More
At Long Last Love Blu-ray ReviewBlu-ray Fox
Jun 07 2013 06:51 PM | Matt Hough in DVD & Blu-ray Reviews
- Studio: Fox
- Distributed By: N/A
- Video Resolution: 1080P/AVC
- Aspect Ratio: 1.66:1
- Audio: English 1.0 DTS-HDMA (Mono)
- Subtitles: English SDH
- Rating: G
- Run Time: 2 Hr. 3 Min.
- Package Includes: Blu-ray
- Case Type: keep case
- Disc Type: BD25 (single layer)
- Region: All
- Release Date: 06/04/2013
- MSRP: $24.99
The Production Rating: 3/5Bored but wealthy New York playboy Michael Oliver Pritchard III (Burt Reynolds) meets musical comedy star Kitty O’Kelly (Madeline Kahn) and falls for her because she makes him laugh. Coincidentally, penniless heiress Brooke Carter (Cybill Shepherd) meets Italian gambler Johnny Spanish (Duilio Del Prete) at the racetrack where she loses her last few hundred dollars and he makes a bundle. When Brooke and Johnny attend Kitty’s opening night and Brooke and Kitty are reunited as old school chums, Oliver invites them all to his country home. While attending a party together, the couples switch partners, and Kitty and Johnny are so hurt about being abandoned by their amours that they concoct a plan to pretend to be madly in love with one another to make Brook and Ollie jealous. But the trick might just lead to the real thing as feelings become tangled with all of them.
Peter Bogdanovich’s gossamer thread of a story is actually acted out in the film’s opening credit sequence by a pair of waltzing couples on a music box (one of several moments of real chic which he manages), and in spite of eighteen song numbers interspersed among the four principals and three supporting players, the story remains decidedly too thin to prop up this much song and dance. The director is also at the mercy of having two of his four leads not up to the full demands of a musical comedy (which the director insisted was to be sung live while filming as many early sound musicals were). To accomplish this successfully requires not only song and dance skills but that necessary but indefinable element, charm. Madeline Kahn certainly has it in spades: at ease with joking, singing, dancing, and ad-libbing (which the director seems to have encouraged even when the comments spill into other people’s singing). And despite language barriers which he handles rather astutely, Duilio Del Prete has it, too, even if his singing occasionally drifts a little below pitch. But the director’s two top-billed leads are both lacking in some essentials: Burt Reynolds confuses nonchalance with sophistication and ends up as something of a cipher while his lack of sustain in his singing makes all of his songs sound unimpressively the same. Cybill Shepherd has the better voice of the two by far: she can maneuver from her chest to her head voice, but a lack of training makes those leaps unwieldy and unattractive sometimes, and she’s completely lacking the kind of charm that would make her spoiled, snippy heiress character endearing rather than tiresome. The two supporting performers John Hillerman as Pritchard’s valet and Eileen Brennan as Brooke’s maid certainly carry a good deal of the droll, dry comedy of the piece, and their extended “But in the Morning, No” which starts and stops about three times during the course of the film while she pursues him and weakens his resolve is one of the movie's highlights.
The trouble with writing a jukebox musical is that songs from a catalog must be fit into a new narrative even though they weren’t originally written for it, and sometimes the fit isn’t particularly smooth. Each of the leads gets an introductory song, and each conveys the personality of its performer rather brilliantly: “Down in the Depths” for Kahn, “Tomorrow” for Del Prete, “Which” for Shepherd, and “Poor Millionaire” for Reynolds. Later numbers, however, like “Well, Did You Ev’ah” at the party and “I Get a Kick Out of You” which was an obvious gift from the director to his star Shepherd (they were an item at the time) since the rest of the numbers seem scrupulously divided among the leads to favor none of them aren’t as carefully integrated. Since most of these Cole Porter songs are acknowledged classics, it’s terrific that for the first time in movies we get to hear all the verses and encores of some of the classic tunes like “Friendship” and “You’re the Top.” And in the film’s very best sequence, each of the four stars gets to warble a different verse of “At Long Last Love” on the morning after their house party, a rare instance of chic staging from the director and unselfconscious performing from each of the actors.
Because it’s set in the 1930s, the film’s Art Deco look in fashions and furnishings is a delicious feast for the eyes: everything’s in shades of black, white, gray, and cream which almost makes this a black and white film in color. But in the final analysis, despite all these expensive trimmings, this two-plus hour film with such a slight bittersweet story and almost twenty musical numbers is just too top heavy for its own good. Perhaps if some of the singing were better, perhaps if the actors were better dancers and could really get into a production number to offer some variety from the few slap-happy taps that they attempt sometimes, the film might be more appealing. But as it now stands, it’s a beautifully wrapped box with only a small, rather inexpressive present inside.
Video Rating: 4/5 3D Rating: NA
The film has been framed at 1.66:1 and is presented in 1080p using the AVC codec. Much of the film looks beautiful with very good sharpness, accurate color, and flesh tones that look very inviting. Blacks are nicely rendered, and all the white in the production design never blooms. But there are some soft shots, and there’s one sequence that looks different from the others where darker color timing crushes blacks and increases the grain level appreciably. The film has been divided into 12 chapters.
Audio Rating: 4/5The DTS-HD Master Audio 1.0 sound mix combines the dialogue, music, and sound effects expertly into a single track that features very good fidelity and no age-related artifacts to spoil the sound quality.
Special Features: 2/5Isolated Score Track: presented in DTS-HD Master Audio 2.0.
Theatrical Trailer (3:25, SD)
6-Page Booklet: the Twilight Time-like insert includes lovely color stills from the movie, poster art on the back cover, and film historian Julie Kirgo’s essay which offers an appreciation for the film’s accomplishments.