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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.

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.

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.

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.

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

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.

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.

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.

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.

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.

A movie sound recordist called Jack (John Travolta), accidentally records the evidence that proves that a car accident was actually murder and consequently finds himself in danger. When Jack discovers that the deceased was a presidential candidate, he begins to suspect that it was an assassination. Jack talks to the girl companion of the driver, whose name is Sally (Nancy Allen), who seems confused about what happened, and when the hospital cuts her loose, Jack offers to take her home. Eventually, Jack confronts the evil ¨Liberty Bell Strangler¨. The Blow Out took them to the edge of terror . . . His questions took them way beyond !. Murder has a sound all of its own!.The latest fashion in murder !. Every nightmare has a beginning...This one never ends !. Brian De Palma, Master of the Macabre, invites you to a showing of the latest fashion... ...in murder !.

An inteligent film about a a sound effects engineer becomes involved in political intrigue as he tries to expose a conspiracy with the evidence he has gathered, so our starring finds out he may have recorded evidence of a murder. An intricate mystery and pays tribute to ¨Antonioni's Blow up¨ and some Hitchockian remarks. This haunting thriller flick is plenty of mystery, intrigue , plot twists and suspenseful. A highly exploitative and fast-paced suspense/thriller , recognisably from the blood-spattered hands of expert filmmaker Brian De Palma. The film displays a great and catching musical score by Pino Donaggio, De Palma's favorite composer, in Bernard Herrmann style , and imitating former hits , along with appropriate cinematography. There is much for De Palma buffs to savour in this thrilling and atmospheric handling of a complex story with deliberately old-fashioned treatment . A classic in suspense from De Palma, pitching us right into the action from the beginning and baffling most of us to the ending . There are also tense key images that are brilliantly and originally staged. This is a sophisticated treaty on edition and perception, being brilliantly assembled and wrought. The mechanics of suspense are worked quite well by the filmmaker and many frighten the easily scared quite adequately, but De Palma has made a habit of dwelling on their more sordid side-shoots .Here John Travolta is very good as the sound engineer working on cheap horror movies, who watches one night, while recording sound effects, as a car in which a couple is traveling falls from a bridge into a river. Along with other stunning actors, such as: Nancy Allen who married director Brian De Palma, the nasty John Lithgow, Dennis Franz, John Aquino and John McMartin.

It contains colorful and luminous cinematography by prestigious cameraman Vilmos Zsigmond. As well as nail-biting, impressive musical score by composer Pino Donaggio. Pretty good and graphically mysterious direction from Brian De Palma. ¨Blow out¨ is Brian De Palma's homage to Antonioni and the reason for the chief amusement turning out to be the twisted inquire with some scenes taken from this Italian master, and De Palma also takes parts especially from Hitchcock. The picture is brilliantly directed by Brian De Palma. This ¨Blow out¨ -along with ¨Sisters¨,¨Dresssed to Kill¨, ¨Body Double¨- resulting outwardly another ode to Hitchcock with the accent on the killings, but on most occasion is really thrilling . Rating : 7/10 . Above average, it gets some riveting basic ideas and attractive images. Nowadays , being a highly considered film; that's why it is deemed by many to be one of the Brian Palma's best.

While out late at the park, capturing ambient sounds for a low-budget slasher movie, a young audio engineer (John Travolta) accidentally records a fatal automobile accident. He's able to rescue the passenger, a delirious young woman, but the driver is left DOA at the bottom of a lake. We'll soon learn that the victim was an important political figure and Travolta's recording contains proof that this was no mere accident. What follows is a hearty dose of suspense mixed with intrigue, as the villains slowly tie off loose ends and various innocent parties stumble into the crosshairs.

Travolta provides a surprisingly adept leading performance, effortlessly cool and on-the-ball alongside a creepy supporting turn from John Lithgow (young but already balding) as the callous hatchet man who successfully spins a serial killing spree into cover for the real story. Nancy Allen (then married to director Brian De Palma) is sufficient as the bimbo survivor / love interest, a walking, talking time capsule who manages some strange natural chemistry with the star. De Palma's direction takes unusual risks which almost always pay off. The most memorable example is a mesmerizing split-screen act that conveys important plot details via TV news broadcast while also establishing the engineer's meticulous studio work in parallel. The story feels a little dated, but the daring production concepts are way ahead of their time.

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.

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!

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.

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.

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.