The Last Stop In Yuma County

Featured In Issue Issue 273, May/June 2024

WSR Score3.5
Basic Information on new release titles is posted as soon as titles are announced. Once reviewed, additional data is added to the database.
Well Go USA
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Violence and language
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Single Side, Dual Layer (BD-50)
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Francis Galluppi
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DTS HD Lossless 5.1
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In "The Last Stop In Yuma County," while awaiting the next fuel truck at a middle-of-nowhere Arizona rest stop, a traveling young knife salesman is thrust into a high-stakes hostage situation by the arrival of two similarly stranded bank robbers with no qualms about using cruelty—or cold, hard steel—to protect their bloodstained, ill-begotten fortune. (Gary Reber)

Special features include Director Francis Galluppi and acors commentary, Galluppi and Executive Producer James Claeys commentary, Galluppi and Cinematographer Mac Fisken commentary, a making-of featurette (HD 08:28), trailer and upfront previews.

The 2.39:1 1080p AVC picture, reviewed on a VIZIO Quantum X P85QX-JI UHD/HDR display, was photographed d digitally using the Arri Alexa Mini camera system and sourced from a 2K master Digital Intermediate. The picture appears perfectly realistic with a natural color palette, whether with respect to cars on a desert road and parking lot or inside the roadside diner next to the only gas station within 100 miles. Hues are nicely saturated but not exaggerated. Flesh tones are perfectly natural . Contrast is well balanced. Black levels are realistic, shadows are revealing and white levels appear accurate. Resolution is generally good though soft in the backgrounds. Still, closeups reveal good detail in facial features, clothing and objects such as the appointments in the diner and the cars. This is realistic portrayal of rural, gun-carrying America with a violent twist. (Gary Reber)

The DTS-HD Master Audio 5.1-channel soundtrack for the most part is dialogue focused within the confines of the diner and with segments of outdoor atmospherics such as wind and road noise as well as the squeaky diner door as it swings back and forth as people enter and exit. The interior diner atmospherics are quiet except for the nuanced sounds of the waitress service and the shooting spree. The one powerful sound effect is a fuel truck explosion, which roars through the soundfield with deep bass. The music is a selection of pop artists and orchestral score that occupy a wide soundstage with extension to the surrounds. The surrounds sans the music and the explosion are for the most part subtle. Dialogue is generally well integrated spatially. This is a pleasing realistic soundtrack that supports the crazed goings on. (Gary Reber)