The Last Kiss appears in an aspect ratio of approximately 2.35:1 on this Blu-ray Disc. Though not grossly problematic, the transfer seemed lackluster.
Some of the problems related to sharpness, as definition varied. While some shots looked fine, many others showed mediocre delineation and clarity. No problems with jagged edges or shimmering occurred, and print flaws seemed absent.
Colors remained subdued. The movie went with an earthy tone that favored greens and browns, all of which looked acceptable. Brighter hues came across fine on the occasions they appeared, at least.
Blacks tended to be a little murky, while low-light shots seemed bland. Interiors came across as particularly lifeless. Shadows tended to be a bit flat. Overall, this transfer remained watchable but no better.
Given the character-based roots of The Last Kiss, I expected little from its soundfield. Indeed, this was a fairly restricted Dolby TrueHD 5.1 soundfield that fell in line with films of this genre.
The audio stayed largely focused on the front channels. A few elements like bars and parties opened up the surrounds a bit, but there wasn’t a lot of information on display. Music showed good stereo imaging, at least, and the general ambience was fine.
Audio quality was acceptable if less than impressive. Music showed lackluster bass response and could have offered more satisfying depth. Nonetheless, the track was usually reasonably solid.
Speech sounded crisp and distinctive, and effects were clean and clear. This was an unexceptional mix that earned a “C+“.
How does the Blu-ray compare to the original DVD release? Audio remained similar, as the blandness of the mix meant the lossless version didn’t add much.
Visuals showed mild upgrades but don’t expect miracles. The movie offered superior delineation but remained mushy and flat much of the time. This became a minor step up in quality but nothing impressive.
The Blu-ray comes with the same extras as the DVD, and find two separate audio commentaries. The first presents director Tony Goldwyn and actor Zach Braff for a running, screen-specific piece. They go over cast, characters and performances, locations and sets, music choices, cut sequences, and general technical notes.
Goldwyn and Braff offer a pretty spotty commentary. They joke around a lot and throw out quite a bit of general praise for all involved. There’s also more than a few spots of dead air. A moderate amount of decent information emerges, but not enough to make this a memorable discussion.
For the second track, we hear from Goldwyn, Braff, and actors Jacinda Barrett, Rachel Bilson, Michael Weston and Eric Christian Olsen. All of them sit together for their running, screen-specific discussion.
The chat usually stays in the realm of anecdotal material. They discuss their experiences with each other and during the shoot. They also joke around a lot.
Bizarrely, this commentary varies between too little talking and too much. When the participants speak, it often feels like we get three different conversations all at the same time. The program can become chaotic as the various participants yak over top of each other.
On the other hand, the piece presents quite a few examples of dead air. There’s a surprising amount of silence given the number of speakers and their general chattiness. These two trends and a lack of much substance make this a tough track to take.
After this we find a series of four featurettes. Filmmaker’s Perspective goes for a mere two minutes, 33 seconds, as it provides comments from Goldwyn and producer Gary Lucchesi.
They throw out some basic notes about the Italian flick that inspired Kiss and a few other issues. The info’s decent but the shortness of the piece makes it less than involving.
Something more substantial comes via the 26-minute, 44-second Getting Together. It presents remarks from Goldwyn, Lucchesi, Braff, Barrett, Bilson, Weston, Olsen, screenwriter Paul Haggis, and actors Casey Affleck, Lauren Lee Smith, Marley Shelton, Blythe Danner and Tom Wilkinson.
“Together” looks at Haggis’s adaptation of the Italian original, casting, characters and performances. The program mixes insight and blather.
On the negative side, we get much praise for all involved. However, the show balances this with some good reflections on why the actors got their parts and how they took on their roles. It winds up as a decent program.
Next we get Behind Our Favorite Scenes. This eight-minute, 27-second featurette includes Braff, Bilson, Barrett, Danner, Wilkinson, Lucchesi and Goldwyn. It examines particulars of four different segments.
Most of the remarks remain in the domain of praise and puffery, though Goldwyn offers insights into how they altered the scripted version of one scene. Some good footage from the set makes this one more palatable.
Finally, Last Thoughts runs three minutes, 29 seconds with Lucchesi, Barrett, Affleck, Shelton, Olsen, Danner, and Goldwyn. This piece acts as a valedictory note in which the participants discuss how deep and rich the film is. It offers little of interest.
A Music Video for “Ride” by Cary Brothers lasts three minutes, 25 seconds. Braff directed the video and quickly introduces it.
A simple piece, the clip mostly shows Brothers as he lip-synchs in a desolate trailer park. It’s not a great video, but at least it lacks the usual roster of movie snippets!
Seven Deleted Scenes occupy a total of 14 minutes, seven seconds. We discover “Bachelor Party Extended” (2:51), “Treehouse Scene Extended” (3:48), “Izzy and Arianna On the Phone” (0:36), “Chris and Lisa Fight in the Kitchen” (1:26), “Kim Chases Michael” (0:40), “Alternate Ending 1” (2:43) and “Alternate Ending 2” (2:03).
“Party” offers more nudity from the strippers, so that’s a good thing. The two endings more explicitly show what happens to Michael and Jenna as well as the others. Most of the others just make the characters look even more messed up and needier.
In addition to the film’s trailer, the disc includes a Gag Reel. This two-minute, 44-second clip features the usual errors and wackiness. None of it entertains.
In some movies, you’re supposed to hate the main character, but since The Last Kiss isn’t one of those flicks, the negativity it generates causes harm. Chock full of unlikable personalities and constant misery, the film falters. The Blu-ray presents bland picture and audio along with an erratic set of supplements. This is an unexceptional release for an atrocious movie.
To rate this film, visit the original review of LAST KISS
