Blow-Up - Movie Reviews - Rotten Tomatoes

Blow-Up Reviews

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September 2, 2015
Lo siento, me parece insufrible.
August 30, 2015
Slow moving chauvinistic hogwash. I couldn't make it through the first half of this movie!
½ July 19, 2015
This sure falls into its own category.
½ June 11, 2015
Technically groundbreaking, and ambitious to a fault, Blow-Up is an immersive cryptic multi-layered viewing experience that will probably have you re-watching, even though Antonioni's wandering can be quite tiresome, specially in the first act.
May 25, 2015
Fascinating film that just screams "mod" (and interestingly enough, not all too different from today's hipsters in respects), this one intrigued me more for its subtle philosophical connotations than its dreadfully pretentious wanderings. Still a culturally important picture for sure, with enough memorable imagery to remain with you for a long time.
April 22, 2015
I just don't get it. Tacky, dated, dull, boring, and utterly meaningless, "Blow-Up" is somehow even worse than "L'Avventura". One of the least entertaining films ever made.
March 2, 2015
It's impossible to put your finger on it, but there's SOMETHING ABOUT THOSE TREES that captivates, puts me in awe and moves me every time beyond believe.David Hemmings portrays one of the coolest characters in movie history in this pop/mod mystery movie. Hemmings is a confident, self centered photographer in the mid sixties London scene where he unwittingly photographs a murder. When Vanessa Redgrave throws herself at him in order to recover the film, Hemmings becomes obsessed with the pictures, ultimately blowing them up to expose a sinister murder scene. The true brilliance in the film is the David Hemmings portrayal of the full spectrum of cool: attitude, fashion, art - everything. On another dimension Blow Up is a character study of this hip London photographer. Its influence even made its way to the Austin Powers series in the photography scenes.
½ February 26, 2015
This film may have been groundbreaking in its time, but it does not hold up today. I can't imagine anyone other than film students and/or film historians enjoying this film, unless its old beatniks who are trying to re-live their heyday. You have only to read the audience reviews of this film to see that these are exactly the people who have rated this film so highly. SMH

The story is very open-ended, people seem to aimlessly meander through scenes, the plot is ridiculous, and the use of symbolism is heavy-handed - to put it mildly. Watch it if you must, but you've been warned.
February 14, 2015
A vision of a decaying society, a top photographer with an empty non sense life, a diffuse story, a film based in some moments. Also a colorful aesthetic proposal.
February 12, 2015
more of a snapshot of 60s Britain psychedelia than the murder mystery the synopsis would leave you to believe.
But that's a good thing
February 6, 2015
The first English language film by Michelangelo Antonioni, who had made a splash with his Italian films such as L'Avventura (1960), La Notte (1961) and Red Desert (1964). For his next film, he went to Italian producer Carlo Ponti, then hot off producing Doctor Zhivago (1965), and he got Antonioni a contract at Metro-Goldwyn-Mayer. Here, he was in the right place at the right time, and he captured the atmosphere going on. This tells the story of photographer Thomas (David Hemmings), who has had a successful career working in and around the pop scene of London at that time. While out on a shoot at Maryon Park, he takes candid photos of two lovers, the woman Jane (Vanessa Redgrave) isn't happy about being photographed, and she later goes to Thomas's studio, demanding the negative. He complies, but gives her a different negative. While looking though the photographs he took in the park, he finds he tooks a photo of a body in the grass and a potential killer in the nearby trees. He goes back to investigate, and he becomes obsessed with Jane... It's a good thriller, set against the backdrop of Swinging London. Antonioni uses a lot of colour in the film, and it has an interesting plot, even if it is quite difficult to navigate at times. It has a good score by Herbie Hancock, with a guest performance by the Yardbirds. This should have set Antonioni up for life. Then he did Zabriskie Point (1970)...
½ January 25, 2015
Unbelievably dull a film where the main purpose is to distract the main character from the plot. (And that's the purpose of the movie) The scenes are drawn out but amazing to look at. The film has its moments of interest like the ending but it seriously barely goes anywhere. It isn't recommendable
January 18, 2015
Desconsertante pelicula , pero que mantiene el interés.
December 17, 2014
Light on dialogue, with a few mindless diversions to allow the viewer time to absorb developments - and hold interest. Reality is a participatory experience.
December 4, 2014
All synopses of the film describe it as a photographer possibly capturing a murder on film. Whilst this is indeed a part of the plot, it plays a relatively small role in the photographer's prioties. The film is mostly about him parading about and the little vingettes he gets into. Very interesting, very 60's. Has a wonderful ending.
November 3, 2014
One more reason to live in LA! Tons of screenings and revival houses of films in pristine prints and not just around a general release. BLOW UP is a masterpiece. Let's get that out of the way but you know, I never really liked it that much. And I love Antonioni. But seeing this last night, I was just in awe. It is a masterwork that transcends its time frame, truly explores who we are, what we need, why we fail, what we see, and why we may be empty.
September 23, 2014
In the opening scenes of "Blowup", we are transported into 1960s London, the London Diana Vreeland labeled as "the most swinging city of the world at the moment". With doll-like women that have the hair of Françoise Hardy, the body of Twiggy, and the mannerisms of Brigitte Bardot, it's a maze of mod lifestyles and cheerfully banal attitudes.
One such person living a mod lifestyle is Thomas (David Hemmings, in an iconic role), a young photographer with a flat any artist would dream of. When we're first introduced to Thomas, he is in the process of a photo shoot, his star being supermodel Verushcka von Lehndorff. The scene, covered in big hair, put-upon sexual tension, and poses that would only be appropriate for "Interview", is remarkable: it sets the stage for the rest of the film.
There are the kinds of masterpieces that hit you emotionally, like the latest Steven Spielberg project or the series finale of the greatest show on television; but then there are the kinds that Michelangelo Antonioni makes. "Blowup" is drenched in silence, enigma, danger, boredom, fashion, style - it's a complete work stacked to the top of impeccably shot scenes, scenes that don't always add up but leave an abiding impression on the viewer, not easily shaken off.
Following his photo shoot, Thomas takes a trip to the park, sees a fascinating couple, and being a photographer, lets out his inner paparazzi in the sake of art. The woman (Vanessa Redgrave), rattled by Thomas' nerve, confronts him; but even we can tell that there isn't something right about the situation.
Later on, she arrives at his flat, angry and demanding she have the footage. She does everything she can - even taking her top off at one point, in hopes of seductive manipulation - but she doesn't get her way. When developing the said pictures, Thomas is reminded of the woman's strange fury. And through detailed analysis and a series of blowups, he finds that it wasn't just he, the woman, and her boyfriend in the park: there was also a murderer and a victim.
We don't find out who the murderer or the victim is, by the way - if we did, "Blowup" wouldn't have that same overall feeling of emptiness it holds with such careful restraint. It contains an emptiness not like a hollow Andy Warhol film, but one that reflects a consistent tedium in life. Once Thomas finds that he has discovered a killing, there is a spark of sudden fervor.
In the best scene of the film, Thomas sets every picture of the park side by side, blowup to blowup, making the connection, and we can feel goosebumps creeping up our arms. The scene is edited with seamless energy: the camera pans back in forth between the photos, and finally, plays them in a slide show, with increasing tightness that is just as cloying to us as it is to Thomas.
But "Blowup" shouldn't be mistaken as a murder mystery, because, usually, murder mysteries tell us who was at fault, why it happened. The film is an exercise, a study of the mod culture. The discovery of the death feels like a dramatic event rather than mere plot device. It's like a rock, thrown into a river: at that moment, it creates a rippling effect, creating action everywhere in its wake, only to be covered up once again by the same rat race.
When Thomas actually stumbles upon the body at one point, we come to two conclusions: 1) this man was murdered, in an albeit bloodless way, or 2) he dropped dead, possibly of a heart attack. The latter would certainly explain Vanessa Redgrave's fretful panic. We never truly know. But like "Mulholland Dr." or "L'Avventura" or "La Dolce Vita", there doesn't need to be closure to make a great film. It's our aftertaste that matters, and "Blowup"'s is one of startling obsession.
½ September 1, 2014
While the film is dated, it still manages to remain a quietly disturbing film that has a great deal more to tell us than of the simple plot.
½ July 24, 2014
Compelling dissertation on a cocky fashion photographer who's drawn into a situation that makes him question what is real and what isn't.

Definitely more of a stream-of-consciousness film that asks, even demands, particular attention from the audience.

As with many classic films of this nature, the ending becomes the focal point of what the director was trying to achieve.
July 22, 2014
awesome mystery suspencer
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