6.3 | / 10 |
| Users | 4.0 | |
| Reviewer | 3.0 | |
| Overall | 3.0 |
An engineering student becomes bored with his wealthy fiancee, and breaks off the engagement with her when he falls for a mysterious teenager he meets at a houseparty out in the country.
Starring: Molly Ringwald, Andrew McCarthy, Patti D'Arbanville, Ben Stiller, Leon Russom| Drama | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.78:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 2.0
English SDH
Blu-ray Disc
Single disc (1 BD)
Slipcover in original pressing
Region A (B, C untested)
| Movie | 2.5 | |
| Video | 3.0 | |
| Audio | 4.0 | |
| Extras | 0.0 | |
| Overall | 3.0 |
1988’s “Fresh Horses” was destined to succeed. David Anspaugh struck gold with his feature-length directorial debut, 1986’s “Hoosiers,” managing to turn a small underdog sports drama into a modest hit at the time, with the picture’s popularity growing exponentially after hitting the home video market. Looking to show some range with his creative endeavors, Anspaugh found his way to playwright Larry Ketron, who adapted his 1986 theatrical effort for the screen, out to bring the tightness of feelings and relationships to a more cinematic space. The production also enjoyed the power of casting, reuniting stars Molly Ringwald and Andrew McCarthy, who, in 1986, found themselves with a hit movie in “Pretty in Pink,” riding the John Hughes wave to another success. “Fresh Horses” had industry and production momentum, but the offering often struggles to make sense of itself, losing the battle with intensity as Ketron can’t quite bring his vision for emotional turmoil and troubled souls to the film. There’s room to explore damaged people making terrible decisions, but Anspaugh can’t deliver something involving, inching closer to a melodrama than a sharp inspection of personal issues and the power of lust.


The image presentation for "Fresh Horses" utilizes an old scan of the feature. Fine detail isn't available, but a general understanding of frame information remains. Cold weather costuming is decently fibrous, and skin particulars are understood, but never sharply presented. Exteriors maintain some depth as the drama visits campus and rural life. Interiors secure mild dimension with tours of living spaces and railroad shack activity. Colors are slightly dulled due to the age of the source, but hues are appreciable, including the brightness of a pink scarf and hair color. Signage and decorative additions add some primaries to the visual experience, but the picture largely favors an autumnal look, with plenty of browns and grays. Delineation is acceptable, securing evening activity. Grain is chunky. Source is acceptable condition, with speckling present, along with mild judder.

The 2.0 DTS-HD MA mix offers a straightforward appreciation of "Fresh Horses," leading with clear dialogue exchanges. Emotional moods are easy to follow, and balance with argumentative behavior is present. Scoring supports with acceptable clarity, delivering synth and jazzy instrumentation and dramatic support. Soundtrack selections maintain sharp vocals. Atmospherics with group activity and weather changes is understood.

There is no supplementary material on this release.

While they seemed to have some chemistry in "Pretty in Pink," Ringwald and McCarthy give off serious sibling vibes in "Fresh Horses," killing whatever heat is meant to develop between their characters. They try to make sense of the material, reaching as far as their talents go, but Ringwald and McCarthy struggle with the assignment, which takes Matt and Jewel into some strange areas of realization. Anspaugh doesn't squeeze hard enough on romantic failures and obsessive behaviors, turning the endeavor into a soap opera by the final act. Ketron keeps his ideas alive in a handful of monologues, but he's not strong with plotting, creating messes the feature ultimately doesn't bother to clean up. "Fresh Horses" has a few moments of personality and clarity (and provides an early chance to see Stiller display his masterful Tom Cruise impression), but it doesn't offer a steady understanding of ruin and self-sabotage, killing off its potential to be a steamy yet shocking study of doomed attraction.
(Still not reliable for this title)

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