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Tony Goldwyn
Zach Braff, Jacinda Barrett, Casey Affleck, Rachel Bilson
Writing Credits:
Paul Haggis

We all make choices. What's yours?

A whiny, self-obsessed, about-to-turn-30 guy freaks out when his pregnant, totally hot girlfriend decides they should buy a house. So of course he decides to sabotage his relationship by flirting with a slightly younger but no less hot girl. His idiocy results in possibly losing both women.

Box Office:
$20 million.
Opening Weekend:
$4,627,989 on 1357 screens.
Domestic Gross:

Rated R

Aspect Ratio: 2.35:1
English Dolby TrueHD 5.1
Spanish Dolby 5.1
French Dolby 5.1
German Dolby 5.1
Supplements Subtitles:

Runtime: 103 min.
Price: $19.98
Release Date: 4/14/2009

• Audio Commentary with Director Tony Goldwyn and Actor Zach Braff
• Audio Commentary with Director Tony Goldwyn and Actors Zach Braff, Jacinda Barrett, Rachel Bilson, Michael Weston and Eric Christian Olsen
• “Filmmaker’s Perspective” Featurette
• “Getting Together” Featurette
• “Behind Our Favorite Scenes” Featurette
• “Last Thoughts” Featurette
• Music Video
• Deleted Scenes
• Gag Reel
• Trailer


Panasonic TC-P60VT60 60-Inch 1080p 600Hz 3D Smart Plasma HDTV; Sony STR-DG1200 7.1 Channel Receiver; Panasonic DMP-BD60K Blu-Ray Player using HDMI outputs; Michael Green Revolution Cinema 6i Speakers (all five); Kenwood 1050SW 150-watt Subwoofer.


The Last Kiss [Blu-Ray] (2006)

Reviewed by Colin Jacobson (May 11, 2017)

For a look inside the lives and relationships of a bunch of nearly-30-year-olds, we head to 2006’s The Last Kiss. Michael (Zach Braff) reflects on his life as he nears his 30th birthday.

On the surface, Michael seems perfectly happy. He dates – and accidentally impregnates – gorgeous, smart Jenna (Jacinda Barrett), he has a good job, and he still hangs out with his long-time buddies.

Alas, Michael doesn’t feel so sure about his future. Michael sees the problems his friends experience with women, and then he meets Kim (Rachel Bilson) at a pal’s wedding. She hits on him and though he doesn’t actively receive her charms, he doesn’t really shy away from her either.

Michael’s already-existing feelings of anxiety combine with all the misery he sees in his friends’ relationships to send him toward Kim. The movie follows the complicated love triangle as well as some aspects of the others’ lives.

On the surface, Kiss looks to present your basic romantic comedy, but that’s not the case. If you want to find romance and/or comedy from Kiss, you’ll leave unsatisfied – and possibly suicidal, as the film provides a relentlessly unpleasant view of humanity.

That starts with our lead character, and I couldn’t understand why two amazingly gorgeous women feel so passionately toward an unlikable and unsympathetic person such as Michael. At no point does the film make us feel any fondness toward him, so although it tries pretty hard to pull those heartstrings at the end when he produces the Big Romantic Gesture, it’s too little and too late.

The film wants us to see Michael as desirable but never produces any evidence that he deserves our affection. At least with Jenna we can assume that he endeared himself to her based on actions over the prior three years, but we get no logical reason to understand why Kim falls for him.

Clearly Kim’s initial attraction comes from his physical appearance, and that makes no sense. No, Braff isn’t an ugly man, but he looks a lot like a young Garry Shandling, and I can’t see why a young hottie like Kim would become so irrationally smitten with a guy who sports average looks at best.

Actually, the whole plot backfires as it evolves. We don’t just feel a lack of sympathy for Michael – we start to hate the guy.

Most movies would take a jerk who cheats on his pregnant live-in girlfriend as the villain. He lies to Jenna and his friends, he uses Kim, and he shows little responsibility for his actions. It’s a serious stretch – and an unpalatable one, in this case – to make such a person our protagonist.

Perhaps director Tony Goldwyn sensed that too much time with Michael would be a bad thing so he stretches the story across many other characters as well. This is a mistake since it can't devote enough time to them. We get sketches of their misery that just compound the agony of watching this flick.

With so little time to spend on each couple, we simply see their greatest hits and only the most painful moments of the various relationships emerge. These make the flick a constant exercise in emotional agony with no payoff.

It doesn’t help that most of the other characters aren’t much more sympathetic than Michael. Either they’re mentally unbalanced, unwilling to accept responsibility, or simply selfish. Where’d they round up such a roster of unlikable personalities?

What a miserable way to spend 100 minutes! Packed with melodrama, The Last Kiss never becomes anything more than an unpleasant story full of unpalatable characters. This is a cinematic car wreck with little to make it watchable.

The Disc Grades: Picture C+/ Audio C+/ Bonus B-

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

Review Archive:  # | A-C | D-F | G-I | J-L | M-O | P-R | S-U | V-Z | Viewer Ratings | Main