Many consider "Blow Out" to be the highlight of Brian De Palma's career, but to be honest I was pretty underwhelmed. It starts of great though. De Palma gets to show of his amazing knack for style in a brilliant opening scene that provides a hilarious pastiche on the slasher genre. The faux-sleazy look, the clever winks at genre classics, the genuine suspense even though you know it's a movie-within-a-movie, it's genius at work. There are more of those beautiful stylistic touches spread throughout the movie (the fireworks during the climax would be an obvious example), but the plot is just contrived and the final act demands more than a little suspension of disbelief. And while John Travolta puts in a strong lead performance, obligatory damsel in distress Nancy Allen never really manages to make her character likable so you don't really care whether she lives or dies. That's why the obvious Hitchcock influence isn't as effective as it could have been, Hitchcock gave us characters we deeply cared about and then did awful things to them. Sally is no Marion Crane to say the least, making it more difficult to stay interested in her story. "Blow Out" looks fantastic, but doesn't go very far beyond that.
195 Reviews
Brian De Palma's forgotten masterpiece.
Westlake12319 September 2012
In 1981, Brian De Palma released what might be considered his "best" thriller to date. The "Slasher" genre was at full blossom, and the conspiracy driven, psychological thrillers of the 1970s were slowly declining in terms of popularity.
"Blow Out" stars John Travolta as Jack, a sound engineer for an independent movie picture, that discovers what first appears to be a tragic car-accident - is in fact a murder. Sally, who is rescued from the wreck by the protagonist (Travolta) himself stays as his counterpart though out the movie. Jack must set the story straight, and prove the police wrong.
De Palma is known for his themes of guilt, paranoia and obsession which work as essential parts for the character development in "Blow Out". It's a hell of ride from start to finish, and one can truly state that Brian De Palma is a master of suspense.
The acting of John Travolta is superb and convincing, and I dare to say that it's his best role to date. I was a bit skeptical to Nancy Allen at first, but her naive character grew on me over the course of the film, and might actually be one of the things that makes this film so great; that is believable character development without the often sudden change of identity.
Blow out is stylish, and both the directing of De Palma and cinematography of Vilmos Zsigmond is highly impressive. From beautifully shot scenes in the vein of Francis Ford Coppola to the drastic suspense of Hitchcock, De Palma uses all the best tricks in the book.
"Blow Out" is non-stop suspense thriller that will keep you on the edge of your seat from start to finish. The last 15 minutes finale is quite extraordinary. The atmosphere, mood and cinematography are all close perfect. It truly is Brian De Palma's forgotten masterpiece.
"Blow Out" stars John Travolta as Jack, a sound engineer for an independent movie picture, that discovers what first appears to be a tragic car-accident - is in fact a murder. Sally, who is rescued from the wreck by the protagonist (Travolta) himself stays as his counterpart though out the movie. Jack must set the story straight, and prove the police wrong.
De Palma is known for his themes of guilt, paranoia and obsession which work as essential parts for the character development in "Blow Out". It's a hell of ride from start to finish, and one can truly state that Brian De Palma is a master of suspense.
The acting of John Travolta is superb and convincing, and I dare to say that it's his best role to date. I was a bit skeptical to Nancy Allen at first, but her naive character grew on me over the course of the film, and might actually be one of the things that makes this film so great; that is believable character development without the often sudden change of identity.
Blow out is stylish, and both the directing of De Palma and cinematography of Vilmos Zsigmond is highly impressive. From beautifully shot scenes in the vein of Francis Ford Coppola to the drastic suspense of Hitchcock, De Palma uses all the best tricks in the book.
"Blow Out" is non-stop suspense thriller that will keep you on the edge of your seat from start to finish. The last 15 minutes finale is quite extraordinary. The atmosphere, mood and cinematography are all close perfect. It truly is Brian De Palma's forgotten masterpiece.
The scream!
jotix1002 August 2005
Brian DePalma was at the height of his film career when he undertook the direction of "Blow Out". Some comments to this forum have compared it to other distinguished films like Francis Ford Coppola's "The Conversation" and Michaelangelo Antonioni's "Blow Up", a comparison that seems to make sense, in a way, but Mr. DePalma, who wrote his own screen play, is an intelligent man who didn't need to copy anything from those masters of the cinema.
In fact, "Blow Out" has kept its impact as a thriller mystery with its political overtones as it mixes crime with the lives of influential people that might give viewers a point of reference between the movie and actual historical facts.
We are given an introduction to Jack's line of work as we watch scenes of the porno film that he is working on as a sound technician. The only thing that is needed is a real scream which the many actresses, either on the film itself, or being auditioned, can't produce. Whatever comes out of those women's throats are wimpy sounds, not a horror yell for help.
Jack, who is out one night recording sounds for future ventures, captures the shot that causes the "blow out" and makes a car plunge into a creek. Jack abandons everything and jumps to rescue whoever he can save. He is only successful in bringing Sally out of the water. This is the beginning of Jack's involvement into the mystery behind the actual fact.
Mr. DePalma's thriller is visually stylish. He photographed the movie in Philadelphia. The film has the excellent Vilmos Zsigmond behind the camera. The atmospheric music by Pino Donoggio serves the movie well.
John Travolta's career was in decline when he made this movie. He gives a terrific performance as the sound effect man who stumbles in a conspiracy to eliminate the witnesses to the accident. Nancy Allen is not as effective as Sally, the young prostitute at the center of the story. Being married to the director might have helped her land the part, which with some other actress might have paid off better. John Lighgow is perfectly creepy as Burke, the evil man. Dennis Franz has the pivotal part of Karp, the man who was able to photograph the whole incident.
"Blow Out" is a must see for all Brian DePalma's admirers.
In fact, "Blow Out" has kept its impact as a thriller mystery with its political overtones as it mixes crime with the lives of influential people that might give viewers a point of reference between the movie and actual historical facts.
We are given an introduction to Jack's line of work as we watch scenes of the porno film that he is working on as a sound technician. The only thing that is needed is a real scream which the many actresses, either on the film itself, or being auditioned, can't produce. Whatever comes out of those women's throats are wimpy sounds, not a horror yell for help.
Jack, who is out one night recording sounds for future ventures, captures the shot that causes the "blow out" and makes a car plunge into a creek. Jack abandons everything and jumps to rescue whoever he can save. He is only successful in bringing Sally out of the water. This is the beginning of Jack's involvement into the mystery behind the actual fact.
Mr. DePalma's thriller is visually stylish. He photographed the movie in Philadelphia. The film has the excellent Vilmos Zsigmond behind the camera. The atmospheric music by Pino Donoggio serves the movie well.
John Travolta's career was in decline when he made this movie. He gives a terrific performance as the sound effect man who stumbles in a conspiracy to eliminate the witnesses to the accident. Nancy Allen is not as effective as Sally, the young prostitute at the center of the story. Being married to the director might have helped her land the part, which with some other actress might have paid off better. John Lighgow is perfectly creepy as Burke, the evil man. Dennis Franz has the pivotal part of Karp, the man who was able to photograph the whole incident.
"Blow Out" is a must see for all Brian DePalma's admirers.
An enjoyable mix of `Blow-Up' and `The Conversation'
bob the moo16 March 2002
Jack is a sound editor for small films. When he is out one evening recording background noises, he inadvertently records a car crash which kills a politician running for the US Presidency, although Jack saves a girl in the car. When pressured to say that the politician was alone, Jack finds that his recording may prove that it was murder and not an accident. However someone is cutting off the loose ends around the crime.
A clever rework of Blow-Up that is given a thriller twist and visual style by De Palma. The story is quite straight forward and doesn't contain too many twists and turns. However it does have a good premise at it's core and it builds to a suitably low-key ending.
De Palma works well with the material at some points it's a little obtrusive, but he certainly can frame a shot. From his use of foreground and background focusing to the scene where Travolta realises what he has on tape he has style to spare. He handles the ending well but perhaps feels he wants to be like Coppola a bit too much.
Pre-career dip Travolta gives his best performance before Pulp Fiction he plays the everyman really well and is totally convincing. Allen is a little too squeaky and irritating, but get past this and she's OK. Franz is on-form as a sleazy opportunist, while Lithgow is chilling as a ruthless, clinical killer.
Overall it occasionally feels like there is more style than substance but everyone holds their end up and the result is a solid, enjoyable thriller that maybe pays a bit too much homage to other work.
A clever rework of Blow-Up that is given a thriller twist and visual style by De Palma. The story is quite straight forward and doesn't contain too many twists and turns. However it does have a good premise at it's core and it builds to a suitably low-key ending.
De Palma works well with the material at some points it's a little obtrusive, but he certainly can frame a shot. From his use of foreground and background focusing to the scene where Travolta realises what he has on tape he has style to spare. He handles the ending well but perhaps feels he wants to be like Coppola a bit too much.
Pre-career dip Travolta gives his best performance before Pulp Fiction he plays the everyman really well and is totally convincing. Allen is a little too squeaky and irritating, but get past this and she's OK. Franz is on-form as a sleazy opportunist, while Lithgow is chilling as a ruthless, clinical killer.
Overall it occasionally feels like there is more style than substance but everyone holds their end up and the result is a solid, enjoyable thriller that maybe pays a bit too much homage to other work.
Great thriller
BroadswordCallinDannyBoy13 July 2006
Jack Terri is a soundman for a B-movie studio. One night as he is out recording sounds for a film he sees an accident - a car swerves through a guard rail and into a river. Jack jumps in in effort to help and sees that the driver is dead, but he manages to save the passenger. He soon finds out that the driver was the current favorite in the presidential election and after listening to the recording he suspects that what happened was no accident.
This is the type of movie many people call a rip-off as not only does it take an idea from a previous story and film ('Blow Up') it is one of DePalma's many Hitchcockian efforts. However, under his direction the film feels fresh and moves very well. It is 13 years before John Travolta made 'Pulp Fiction' but he was already a good lead actor. Dennis Franz also gives a good turn as a photographer who knows more than he is telling.
However, the scene stealer, would have to be John Lithgow who stoically walks his way through the film as a ruthless killer who wants to remove Jack Terri for the evidence he has. Rarely is such a emotionless and callous role played out so well to such great effect.
Then there is DePalma's direction which is the great thing that put all the good stuff together. He has a particular skill of blending shots/scenes without dissolves and that carries the movie is an interesting way. Using shadows, silhouettes, rotating camera shots he is truly a master in good form here. 9/10
Rated R: some grisly violence, and profanity
This is the type of movie many people call a rip-off as not only does it take an idea from a previous story and film ('Blow Up') it is one of DePalma's many Hitchcockian efforts. However, under his direction the film feels fresh and moves very well. It is 13 years before John Travolta made 'Pulp Fiction' but he was already a good lead actor. Dennis Franz also gives a good turn as a photographer who knows more than he is telling.
However, the scene stealer, would have to be John Lithgow who stoically walks his way through the film as a ruthless killer who wants to remove Jack Terri for the evidence he has. Rarely is such a emotionless and callous role played out so well to such great effect.
Then there is DePalma's direction which is the great thing that put all the good stuff together. He has a particular skill of blending shots/scenes without dissolves and that carries the movie is an interesting way. Using shadows, silhouettes, rotating camera shots he is truly a master in good form here. 9/10
Rated R: some grisly violence, and profanity
Good scream from the streets of Philadelphia.
Galina_movie_fan14 July 2007
I was blown away by Brian DePalma's "Blow Out" (1981), the Real American Classic from the 80th. Yes, of course, De Palma pays homage to both, "Blow Up" and "Conversation" but "Blow Out" is a vintage DePalma at his best, in his glory and brilliance. The story is great, packed with twists and turns and also lets us peek once again as in Body Double" at the B-movies making process. John Travolta is Jack Terri, a sound technician who rescues a girl (Nancy Allen) from a car that crashes into a river after a blow out. The man who drove the car did not survive and he happened to be the next presidential candidate. Jack soon realizes that it was not just a blow out but a murder, and he's got an evidence to prove it, the tape that he made on the bridge while recording the background noises for the movie. As good as the story is, it does not forget its characters, and they are memorable and multi-dimensional. The actors are terrific. It was the time when John Travolta was both cute without being smug and compelling. Nancy Allen as Sally, was sweet and heartbreaking, Dennis Franz's character, Manny Karp, the petty blackmailer who got more than he bargained for was fun to watch, and John Lithgow made such a chilling villain that Anthony Hopkins could've learned something from him. I did not even start on Vilmos Zsigmond's camera work. Only one word comes to mind - mesmerizing. The final chase sequence on the streets of Philadelphia during the celebration of the ringing of the Liberty Bell is as well staged and shut and as exiting as the similar climatic chase on Mount Rushmore in Hitchcock's "North By Northwest". The movie is perfectly balanced by the last scene and the hilarious opening scene mirroring each other but this time the scream is different. It IS a good scream that came from the streets of Philadelphia.
If you liked F/X...
vertigo_144 April 2004
If you liked F/X, you'll probably like Blow Out and vice versa because both films involve a person who uses their craft to solve a highly corrupt case of murder.
While F/X's Rollie Tyler was a special effects engineer, our hero in Blow Out is a sound technician who must piece together parts of a sound recording (along with some other vital information from other sources along the way) to solve the murder of the gubernatorial candidate, a death which the police have written off as a homocide. Travolta employs Nancy Allen's help, a rather dumb prostitute who was in the car with the victim when their car ran off the bridge, but who is the only survivor and essential key to unlocking the mystery. They are dealing with a very relentless killer who will stop at nothing to make sure the trail of evidence leading to him is eliminated.
It is a typical DePalma movie in that it is done with many Hitchcock elements (they didn't call him the master of suspense for nothing) and also that he works with movies-in-a-movie (see 'Body Double' and 'Dressed to Kill'). It is an enjoyable crime and mystery movie in the days when John Travolta movies were still fun to watch.
While F/X's Rollie Tyler was a special effects engineer, our hero in Blow Out is a sound technician who must piece together parts of a sound recording (along with some other vital information from other sources along the way) to solve the murder of the gubernatorial candidate, a death which the police have written off as a homocide. Travolta employs Nancy Allen's help, a rather dumb prostitute who was in the car with the victim when their car ran off the bridge, but who is the only survivor and essential key to unlocking the mystery. They are dealing with a very relentless killer who will stop at nothing to make sure the trail of evidence leading to him is eliminated.
It is a typical DePalma movie in that it is done with many Hitchcock elements (they didn't call him the master of suspense for nothing) and also that he works with movies-in-a-movie (see 'Body Double' and 'Dressed to Kill'). It is an enjoyable crime and mystery movie in the days when John Travolta movies were still fun to watch.
Did you hear that
the sound of murder
lost-in-limbo14 November 2009
Brian De Palma's ''Blow Out'' starring John Travolta, Nancy Allen and John Lithgow would go down as my favourite film (just ahead of "Causalities of War" and ''Dressed to Kill'') of his on-going filmography. Usually I find him to be an on-and-off director, and ''Blow Out'' was switched on. It's one of those presentations that doesn't just hold you there with its captivating sombre murder mystery (similar to Blow-Up and 'The Conversation') relating to a political conspiracy, but also De Palma's showy technical side is nothing short than exquisitely striking. Well you might say that's the case for most of his work, however on this occasion its extremely well controlled to balance the story and it isn't so much the peering camera and sharp editing (although still commendably evident and how can you go wrong with split frames) but the ingenious use of sound effects and the ironic nature of our main protagonist being an audio technician for b-grade horror movies (which within the building he works bestows some cool horror posters that fans will surely pick up on).
The layered story has that old-fashion noir quality, with the momentum building upon mood and suspense constructing illuminating atmospherics and consisting of fitting performances. While the brooding plot screws around with its webby developments and taut tension, never does the suspiciously tactical script entirely pick it apart with any sort of depth or rationality. In the end its quite basic. However this made the harrowing impact of the film's conclusion even more lasting, as the emotional brunt came from De Palma's intensely slick visual work like the stirring slow-motion climax with Pino Donaggio's harrowing score (which holds a delightfully crisp and variable arrangement throughout). It's top drawer in De Palma's illustratively intimate details oozing with colour, tones and shades with it being served by some beautifully projected expressive photography and a lingering nasty current. An excellent John Travolta brings a convicted temperament to the lead and a bubbling Nancy Allen adds a perky injection. A precisely scheming performance by John Lithgow is truly menacing. Also in support is Denis Franz.
An enjoyably stylish, if simple thriller.
The layered story has that old-fashion noir quality, with the momentum building upon mood and suspense constructing illuminating atmospherics and consisting of fitting performances. While the brooding plot screws around with its webby developments and taut tension, never does the suspiciously tactical script entirely pick it apart with any sort of depth or rationality. In the end its quite basic. However this made the harrowing impact of the film's conclusion even more lasting, as the emotional brunt came from De Palma's intensely slick visual work like the stirring slow-motion climax with Pino Donaggio's harrowing score (which holds a delightfully crisp and variable arrangement throughout). It's top drawer in De Palma's illustratively intimate details oozing with colour, tones and shades with it being served by some beautifully projected expressive photography and a lingering nasty current. An excellent John Travolta brings a convicted temperament to the lead and a bubbling Nancy Allen adds a perky injection. A precisely scheming performance by John Lithgow is truly menacing. Also in support is Denis Franz.
An enjoyably stylish, if simple thriller.
Interesting start, but fizzles
gbill-7487719 May 2020
A film that showed some early promise, but really fizzled with a ridiculous last half hour. It's a pretty simple plot that mashes up Antonioni's Blowup, the Zapruder film, and Chappaquiddick, but didn't create something interesting out of it - and De Palma's references are too transparent for my taste. Perhaps because of the weakness of the story and an overall lack of real tension (Hitchcock he is not), the additional plot element of the "Liberty Bell Strangler" is introduced, which just seemed silly to me. The acting is also below average at best, except maybe John Lithgow, who is suitably menacing. Nancy Allen's character and her performance, on the other hand, are putrid. The film has some amount of entertainment value, but just seemed kind of weak and bland as it played out.
Another DePalma thriller that owes a lot to Hitchcock...
Doylenf30 August 2006
BLOW OUT deserves more attention than a lot of other thrillers from the '80s, partly because it's taut with suspense most of the time and owes a lot of its chill to JOHN LITHGOW's performance as a cold-blooded psychotic killer.
It's also one of JOHN TRAVOLTA's best early roles as a soundman looking for "the perfect scream" for one of his horror movies who accidentally shoots some film of a car careening off a bridge. He dives into the water to try saving the victims but is only able to rescue the woman (NANCY ALLEN). It turns out that the driver was a senator who was a presidential candidate (shades of Chappaquiddick).
From then on, the mystery deepens as he comes to suspect there's some kind of conspiracy involved. DENNIS FRANZ is Allen's boss, a sleazy photographer, who offers to help Travolta. The whole story is filmed with all the DePalma camera tricks and touches that keep the suspense boiling until the climactic shoot-out at the climax.
But it's JOHN LITHGOW who steals the film as the merciless killer with undisclosed political reasons for his murderous mission.
A forgotten gem among the stylish DePalma films that deserves more recognition today. I'm not much of a Travolta fan, but this is one of his better roles.
It's also one of JOHN TRAVOLTA's best early roles as a soundman looking for "the perfect scream" for one of his horror movies who accidentally shoots some film of a car careening off a bridge. He dives into the water to try saving the victims but is only able to rescue the woman (NANCY ALLEN). It turns out that the driver was a senator who was a presidential candidate (shades of Chappaquiddick).
From then on, the mystery deepens as he comes to suspect there's some kind of conspiracy involved. DENNIS FRANZ is Allen's boss, a sleazy photographer, who offers to help Travolta. The whole story is filmed with all the DePalma camera tricks and touches that keep the suspense boiling until the climactic shoot-out at the climax.
But it's JOHN LITHGOW who steals the film as the merciless killer with undisclosed political reasons for his murderous mission.
A forgotten gem among the stylish DePalma films that deserves more recognition today. I'm not much of a Travolta fan, but this is one of his better roles.
Just Out In The Woods Recording When..........................................
bkoganbing11 February 2009
John Travolta is a sound engineer out in the woods during the dead of night trying to record some woods type noises for the latest film he's working on when he sees an accident in which a state governor is killed, a potential presidential candidate. He also records the distinct sound of a gunshot before the car went off a bridge and into a creek at night. Travolta also dives into the creek and rescues Nancy Allen, but is unable to save the male in the car. He finds out later about his VIP status.
Director Brian DePalma obviously used a twist on the tragedy at Chappaquiddick as the basis for Blow Out. The title comes from the official police investigation where they say the car had a blowout which caused the accident, but Travolta insists on his version. And his sticking to the story is making a lot of people uncomfortable.
Travolta does a nice job in a film role that a generation or two earlier James Stewart might have done, the average every man who gets heroic status thrust upon him. He's an ordinary man, but he wants the truth to come out.
Look also for some good performances by Dennis Franz as a sleazy photographer and John Lithgow as a very thorough killer who really loves his job. He not only wants to hide his murder in a forest, he plants his own forest so to speak.
Brian DePalma keeps the tension moving at all times in a manner worthy of Hitchcock. It was a good part for John Travolta, one of the last he would get acclaim for for some time.
Director Brian DePalma obviously used a twist on the tragedy at Chappaquiddick as the basis for Blow Out. The title comes from the official police investigation where they say the car had a blowout which caused the accident, but Travolta insists on his version. And his sticking to the story is making a lot of people uncomfortable.
Travolta does a nice job in a film role that a generation or two earlier James Stewart might have done, the average every man who gets heroic status thrust upon him. He's an ordinary man, but he wants the truth to come out.
Look also for some good performances by Dennis Franz as a sleazy photographer and John Lithgow as a very thorough killer who really loves his job. He not only wants to hide his murder in a forest, he plants his own forest so to speak.
Brian DePalma keeps the tension moving at all times in a manner worthy of Hitchcock. It was a good part for John Travolta, one of the last he would get acclaim for for some time.
Blowout? Flat Tire!
howdymax29 October 2006
This movie was a hodge podge of confusing story lines. Characters seem to come and go without explanation. Nancy Allen's accent was painful - maybe not to somebody from Kansas, but anybody who ever lived in the metropolitan area had to be wincing every time she opened her mouth. It says something about Brian De Palma that while they were married, he took every opportunity to flash her body. And did she ever have a body worth flashing. Ever since I saw her flash it all in "Carrie" I kept my eyes open for any glimpse of that pure white body with a little hint of baby fat. Kind of soft and squeezable. As for the rest of the movie, even John Travolta's usual engaging acting style can't really save it. Just a routine thriller. Completely predictable.
A fantastically stylish film, with scenes that are still wonderful to watch today.
PyrolyticCarbon16 October 2002
The opening of this movie must rival Bullit as cool openings go. Wonderfully shot throughout, and even though you can see how dated the film is just by Travoltas' and Allens' hair and dress sense, it doesn't affect the quality. The story is competent, but what makes the film is DePalma's treatment. The quiet scenes and the complete focus on noise, other than that of the characters talking. Visuals and backgrounds start this movie and run all the way through the major scenes, finally closing it. This is an excellent thriller, and many modern films of this genre should take notes. A great movie.
Another Solid Terrifying Thriller By Brian De Palma
HabibieHakim12317 November 2021
De Palma's can make a similar story with the same technique and it's still fantastic, Blow Out it's hell of a terrifying movie, De Palma's camera is you, you literally feel like you was involved every second of it, you feel it, you saw it, and you care about it, it's a masterful of a work with a marvelous performance by all the cast, Blow Out is another solid terrifying thriller by Brian De Palma.
Nobody does bratty teenaged girls better than DePalma!
ags12323 February 2021
The opening sequence, the "movie within a movie" is pure DePalma. The dormitory full of spoiled, horny coeds is hilarious. The rest of the movie starts out promisingly enough, full of DePalma's trademark stylized direction, but gradually loses credibility. Travolta's in fine form, but Nancy Allen is a very unconvincing actress. "Blow Out" has plenty of visual interest to keep the viewer engaged.
Wonderfully written and directed story...
dwpollar4 October 2005
1st watched 10/03/2005 - 8 out of 10(Dir-Brian De Palma): Wonderfully written and directed story by Brian De Palma about a sound man who records an accident(we think) at a bridge while doing his job of recording sounds for a recent movie gig. We find out the accident involved a Governor who happened to be running for President of the United States and the title character(Jack played by John Travolta) just happened to rescue another person from the vehicle(who was a lady of the night played by Nancy Allen) and the Governor dies. What ensues is a major attempt to cover up some of the facts while Jack tries to piece together what he heard and saw for evidence of the foul play. He believes he heard a shot that blew out the tire of the vehicle and with an amateur photograph's pictures rigs together a pretty convincing portrait of the truth. Travolta is great in what I consider one of his best acting stints but Nancy Allen is tolerable at best. This is the only real negative to this otherwise well made and pieced together thriller that works to the very end and deserved more recognition than it received. I think everyone(audiences and critics alike) expected something different from someone who was known mainly for horror movies before this but this movie started a string of well-received movies coming from him and is definitely one
fills the screen if not the brain
jonathan-57725 August 2007
People talk about De Palma's pastiches like they're a bad thing, but when you set out to pastiche Blow Up and The Conversation PLUS Zapruder PLUS Chappaquadick PLUS Vertigo PLUS who knows what, you can't say the man's being lazy. But how do you tie it all together? How do you come up with an ending? Well as to the first question, I can only hope it was studio interference that prescribed the John Lithgow psycho, who is as engaging and complex as a sheet of drywall and who totally pounds at the "one bad apple" theory, so you ain't here for politics. And unfortunately, none of the other characters engage as characters either - Travolta's haunted sound-recordist gets more remote as the movie progresses, and you keep waiting for Nancy Allen to have a Kim Novak moment that never arrives. And speaking of Kim Novak, we have the ending. In order for De Palma to have his Vertigo angle (with history repeating itself in the death of a loved one) he has to reach out of the main narrative and impose two matching set pieces - external, extraneous, preposterous set pieces - on the second act and at the climax. I much prefer the tools-of-the-trade process intrigue as sound-guy Travolta pieces together a government cover-up through bits of media. The funny thing is, the process itself is also preposterous. Sure, the magazine published every frame of the home movie in sequence. Sure, he pulls the negative out of the camera WITH THE LIGHTS ON and then sends it to the lab. This, I grant you, may be deliberate head-games, an admonition to look somewhere else for the meaning. I'm not saying it didn't move along nicely, or that it didn't impressively fill the screen in 35mm. And while the denouement may be totally cheap, as such it's a bit shocking, and welcome for that. Badum-bum!
"Its a Good Scream"
matthurst-6064527 April 2022
John Travolta is great in one of his best and most gritty roles as a soundman who observes an assassination while recording sound for a B-movie late at night. He gets caught up in the cover up and gets the help of the survivor, Nancy Allen, to assist him in getting to the bottom of this. Brian De Palma goes wild in the finale involving a huge Fourth of July parade with car crashes, thousands of extras, and fireworks. Beautiful Pino Donnaggio score as well.
Good movie wiout good ending
Ahmad_pilehvar8 March 2020
I like Brian De Palma's works. he's hell of director and also it was good movie but it doesn't have a good ending. I'm sure it's because he wasn't want us to fill this is a cliche like any other Mystery, Thriller movies.
Pretty disappointing for so-called rediscovered "classic".
susansweb22 January 2003
Brian De Palma does it again with his versions of classic moments from other movies. In this one we have the 'homages' to "Blow-Up" and "Rear Window". Throw in a psychopath with an extended scene of him killing someone that does nothing to further the plot. Add a ridiculous car chase through a parade. Then top it off with a twist ending that comes off mean-spirited and sleazy. Let's not forget the uninspired performances by Nancy Allen and John Travolta. At least Allen's character is supposed to be not very bright but Travolta, for someone as smart as he is supposed to be, makes some pretty stupid decisions (the main one being letting Allen meet with the reporter alone). What do we get? The usual De Palma mishmash that leaves the viewer unfulfilled. At least when De Palma made "Body Double" it looks like he learned his lesson from this movie and made the "Body Double" ending more satisfying.
For Neo Noir fans
Maxence_G6 May 2020
This movie seems to be forgotten, it has only 41k votes and a 7.4. I think that the critics on Metascore got it right this time, this movie is a pure masterpiece. I particularly find interesting the framing and the use of that blood red in almost every scene. The red is an excellent color in cinema, it draws attention and in someway the color and itself as an immense impact in creating emotions.
Furthermore, the movie is composed of a very clever and effective storyline. However, the dialogues are like roller-coaster some are excellent as the last line of the movie others are simply average and forgettable.
Finally, I could describe this movie as a surprising neo-noir. It is not in anybody's cinema book, but still had an unexpected influence on movies like Nightcrawler in 2014.
Furthermore, the movie is composed of a very clever and effective storyline. However, the dialogues are like roller-coaster some are excellent as the last line of the movie others are simply average and forgettable.
Finally, I could describe this movie as a surprising neo-noir. It is not in anybody's cinema book, but still had an unexpected influence on movies like Nightcrawler in 2014.
Blow Out blew me away.
rivau31929 July 2008
What a cinematic triumph for De Palma and his loyal fans. A sterling piece of work from Brian coupled with stupendous characterisation from the entire cast guaranteed me a thriller of magnetic proportions. Pino Donaggio's gritty underlying score highlights the sheer magnitude of the indispensable 'Blow-Out' climactic moment. Travolta and Allen keep things moving in this thought-provoking masterpiece, not to mention John Lithgow who without a shadow of a doubt, is perfectly suited to be the ultimate villain. One could say that it really is bemusing why this movie didn't rake in a lot at the box office because this is clearly Oscar-worthy material. A must-see movie for all.
An absolute masterpiece.
ebisu167 January 2022
Between story, directing, editing, score, casting and performances, there is so much to rave about in this classic film.
It's masterfully directed, and to me it's Brian De Palma's best work. As close to a perfect film you can get from the peak era of real auteur cinema.
As high a recommendation I can give any movie. If anybody reads this fairly information free and praise heavy review and is influenced to watch it, I hope they love this all time great thriller as much as I did. It's one of the very best examples of why I love movies.
Please enjoy!
It's masterfully directed, and to me it's Brian De Palma's best work. As close to a perfect film you can get from the peak era of real auteur cinema.
As high a recommendation I can give any movie. If anybody reads this fairly information free and praise heavy review and is influenced to watch it, I hope they love this all time great thriller as much as I did. It's one of the very best examples of why I love movies.
Please enjoy!
Beautifully wrapped up
Oggz13 November 2006
And by that I mean De Palma's "I love Hitch" period, which truly kicked off some years earlier with "Sisters" - to my great joy as a big fan of the Hitch style concoction of thriller/slasher/psychodrama. Arguably De Palma's best, it delivers on all fronts - there's mystery, blood, naked and/or murdered women, sex, knives, elaborate and sadistic killings that involve blades and strangulation, psychos, big set pieces, black humour and all the rest of it, with an added bonus of a great story and a brilliant Travolta as a modern leading man Hitch never had the chance to cast. But there's De Palma's own established trademarks too - split screen real time narratives, advanced story clues, multi layered on-screen action and the obligatory big slow motion sequence where time is perversely stretched like a bubble gum. The tragic finale of the story is also unusually poignant, almost superior to "Vertigo" in some ways, possibly because we are made to care more about these two than Novak and Stewart.
The only weaker links in this otherwise fabulous thriller are Allen as a red haired blonde (she was better in "Dressed To Kill") - and Pino Donaggio's score, which is a very mixed and uneven bag in terms of style - ranging from incredibly inspired and even moving (listen how well it works with Travolta running up the stairs in slow motion; you just know he won't make it in time - and so on through to the very end of the closing credits) - to totally inappropriate and downright out of place (the blondie-call-me-ish number preceding his car wreck 5 minutes earlier in the film). The camera, photography and editing are all total virtuoso though, one particular standout being the rotating shot over the bleeping studio equipment with Jack coming in and out of the frame in a perfectly timed and choreographed visual ballet. In relation to this, there's another benefit to this film - it gives a nostalgic and endearing glimpse into the analogue audio and film tape editing era - from a viewpoint of a wholly digitalised today's world, that is.
De Palma simply took the relay from Hitch and carried it off into the eighties, lovingly so and nowhere better than in "Blow Out". He also turned it up a notch and added a touch of his own pervy elegance. And just as well that he did, because really good Hitch-like movies are nowadays few and far between and quite hard to find. A must-watch.
The only weaker links in this otherwise fabulous thriller are Allen as a red haired blonde (she was better in "Dressed To Kill") - and Pino Donaggio's score, which is a very mixed and uneven bag in terms of style - ranging from incredibly inspired and even moving (listen how well it works with Travolta running up the stairs in slow motion; you just know he won't make it in time - and so on through to the very end of the closing credits) - to totally inappropriate and downright out of place (the blondie-call-me-ish number preceding his car wreck 5 minutes earlier in the film). The camera, photography and editing are all total virtuoso though, one particular standout being the rotating shot over the bleeping studio equipment with Jack coming in and out of the frame in a perfectly timed and choreographed visual ballet. In relation to this, there's another benefit to this film - it gives a nostalgic and endearing glimpse into the analogue audio and film tape editing era - from a viewpoint of a wholly digitalised today's world, that is.
De Palma simply took the relay from Hitch and carried it off into the eighties, lovingly so and nowhere better than in "Blow Out". He also turned it up a notch and added a touch of his own pervy elegance. And just as well that he did, because really good Hitch-like movies are nowadays few and far between and quite hard to find. A must-watch.
One of my All-Time Favorite Movies
DennisHogensen12 June 2006
This to me is one of the best Philadelphia and Bicentential movies that there is.
It is set in Philly during the celebration of 1776 (in 1976) and it really shows the sights of the city.
There is a scence when Tavolata is going sown the streets of the city looking for a suspect with the police and it seems so realistic , just like you were in the police car yourself.
Travolta as usual does a great job of acting. However, the stat of this movie, like James Bond movies is the villain, John Lithgow. he is absolutely manic in mission to be shoot the candidate.
The ending is great.
It is set in Philly during the celebration of 1776 (in 1976) and it really shows the sights of the city.
There is a scence when Tavolata is going sown the streets of the city looking for a suspect with the police and it seems so realistic , just like you were in the police car yourself.
Travolta as usual does a great job of acting. However, the stat of this movie, like James Bond movies is the villain, John Lithgow. he is absolutely manic in mission to be shoot the candidate.
The ending is great.
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