lightning in a bottle created more than 30 years ago
| Original Score: 3.5/5
A dazzlingly enjoyable, memorable road trip of comedy and music from two of SNL's best.
| Original Score: 9/10
...an epic musically charged comedy, the likes of which has never been seen before or since.
| Original Score: A
A cult classic for adults and older teens.
| Original Score: 3/5
This long, expensive 1980 cult movie has an energy and individuality lacking in similar films nowadays.
An undisciplined, overlong tale that substitutes spectacle and star cameos (Twiggy, Steven Spielberg, etc) for a coherent narrative.
The film retains a huge nostalgic kick, thanks in large part to Aykroyd and Belushi's easy rapport, a smattering of daft, shaggy humour and some truly iconic musical sequences.
I have never been quite sure why this $30 million comedy made by John Landis in 1980 became such a cult.
Formless, chaotic and lazy, and quite brilliant because of it.
| Original Score: 4/5
The mere spectacle of Elwood and Jake in their shades isn't quite as giggle-inducing as it presumably was back in 1980, but the stunts are still awe-inspiring, and there's plenty of laughs. They really were thinking big.
Full of belly-laughs as well as toe-tappingly great tunes, the sharp suits and cool shades of the Blues brothers will have you rocking with joy.
Call me sacrilegious, but I don't think The Blues Brothers is all that great.
| Original Score: 3/5
An inspired combination of wild comedy, a demented car chase, a double act that dovetails beautifully and terrific music, The Blues Brothers comfortably survives the test of time.
A demolition symphony that works with the cold efficiency of a Moog synthesizer gone sadistic.
A cult musical comedy film with a still-growing reputation.
A monument to waste, noise and misplaced cool, but it does have its engagingly nutty moments.
| Original Score: 2.5/4
Given all the chaos, director and, with Aykroyd, cowriter, John Landis manages to keep things reasonably controlled and in a straight line.
Still sounds great, and looks as good as ever through Ray-Bans.
A damn fine mess of a movie.
The humor is predicated on underplaying in overscaled situations, which is sporadically funny in a Keaton-esque way but soon sputters out through sheer, uninspired repetition.