Critics reviews

Bogdanovich crafted a modernistic refraction of the classic Hollywood musical, extending its range of techniques and themes in meticulous and bold ways that were derided as misguided nostalgia.

There's always the sense that at any moment, they could stumble. And there's no faking honesty like that. There's no hiding from the camera here. Intimacy like that is hard to achieve at the best of times. And it lends unprecedented weight to even the most self-consciously weightless scenes. Bogdanovich might have been aiming for the safety of Astaire and Rogers, but he hit an exposed nerve that makes At Long Last Love one of the most gripping, if accidental, meta-movies of the 1970s.

I don't find it as offensive as What's Up, Doc?, [Bogdanovich's] blockbuster slapstick comedy hit of three years earlier, where so many of the pratfalls, collisions, and smash-ups seemed to be about fatuous, narcissistic yuppies gratuitously humiliating servants and carpenters, but this isn't to say that fatuous, narcissistic yuppies aren't also very much in evidence in this film.

...Much like other legendary bombs such as "Ishtar" or "Heaven's Gate," this Lubitsch-esque confection is more rewarding than it's given credit for, with glamorous production design, sassy double-entendres, and a carefree sense of fun worth at least a dozen dour duds like "Les Misérables" any tap-dancing night of the week. It's the top!