as downtown Tucson, Tucson Community Center, Sonoita and Tempe, including Sun Devil Stadium. Streisand's wardrobe was selected from her own personal clothing. The film credit reads: "Miss Streisand's clothes from... her closet". The film was choreographed by David Winters of West Side Story fame, who worked closely with Streisand to perfect the movie's dancing sequences. Reception Box office The film entered general release in the United States on December 19, 1976. It grossed $80 million at the U.S. box office, making it the 2nd highest grossing picture of 1976. Critical reception On review aggregator website Rotten Tomatoes, the film received an approval rating of 35% based on 40 reviews, with an average rating of 5.4/10. The site's consensus states; "A lack of memorable music, chemistry between its leads, and an overlong runtime prompts this modish iteration of A Star is Born to fizzle out quickly." On Metacritic, the film has a weighted average score of 58 out of 100 based on 8 critics, indicating "mixed or average reviews". Roger Ebert gave the film two and a half stars out of four, writing in his review, "There is, to begin with, no denying Barbra Streisand's enormous talent. At the end of 'A Star Is Born' the camera stays on her for one unbroken shot of seven or eight minutes, and she sings her heart out, and we concede that she's one of the great stars of the movies, one of the elemental presences...I thought Miss Streisand was distractingly miscast in the role, and yet I forgave her everything when she sang." Gene Siskel also gave the film two and a half stars, calling it "a lumbering love story made palatable by Streisand's superb singing." Variety was positive, calling Streisand's performance "her finest screen work to date, while Kris Kristofferson's portrayal of her failing benefactor realizes all the promise first shown five years ago in 'Cisco Pike.' Jon Peters' production is outstanding, and Frank Pierson's direction is brilliant." Vincent Canby of The New York Times called it "a transistorized remake, louder than ever, but very small in terms of its being about anything whatsoever." He also noted that Kristofferson "walks through the film looking very bored." Charles Champlin of the Los Angeles Times wrote, "The treatment of Streisand is so ceaselessly close up and reverential from the start that there really seems nowhere to go but further up, and little of the