wishes there could be a middle ground for them, somewhere between her confident blonde persona and her original brunette self. After he leaves her office, she surprises him on the elevator, showing him a bright red hair style. She has found the middle ground and wants to be with him. They elope to Las Vegas, inspiring Vikki and Peter to also get married. The end credits show Barbara and Catcher's marriage has resulted in a new book aimed at ending the battle of the sexes. The pair sing "Here's to Love". Cast Style The sets, costumes, cinematography, editing, score, opening credits, and visual effects (including split-screen shots during phone calls heavily laced with double entendres between the two leads), are carefully designed to echo the style of 1960s comedies. The New York City skyline of 1962 was digitally recreated for backdrops. A greenscreen technique was used to simulate unconvincing 1960s rear projection using restored street footage from the late 1950s and early 1960s. The film begins with the 1960s logos for 20th Century Fox and for CinemaScope, a wide-screen process introduced in the 1950s, developed and owned by 20th Century Fox, with the 1998 version of the fanfare, composed by Alfred Newman. The Regency Enterprises logo is in pink, and contains a saxophone jazz rendition of its theme. Reception Box office Down with Love was chosen as "the perfect film" to open the second Tribeca Film Festival where it made its premiere. The film opened first in New York, and was released country wide a week later May 16, 2003. The film was released as counter programming against The Matrix Reloaded. The film performed worse than expected, earning $40 million at the international box office. Critical response At the time of its release, Down With Love received extremely varying reviews. Chicago Sun-Times critic Roger Ebert spoke of the film fairly positively, saying parts were "fun" and describing Zellweger's speech at the end as "a torrent of words [pouring] out from her character's innermost soul". A. O. Scott in The New York Times praised director "Reed's buoyant homage," Zellweger's Doris Day-like ability to "swivel engagingly between goofiness and sex appeal", McGregor's Sinatra-like "wiry, wolfish energy" and screenwriters Ahlert's and Drake's "canny cocktail of period vernacular and deliberately labored double entendres", finding the movie "intelligent and amusing" with "a glorious, hectic artificiality". But he questioned "the point of the exercise" compared to