---
title: "The Blues Brothers"
year: 1980
kind: "film"
canonical: "https://film.one/film/the-blues-brothers"
fi1m_id: "the-blues-brothers"
imdb_id: "tt0080455"
tmdb_id: 525
wikidata_id: "Q109767"
fi1m_score: 81
critics_score: 69
critics_reviews: 7
published: "2026-09-15"
updated: "2026-09-18T08:38:35.206657+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Blues Brothers (1980)

Directed by John Landis · 2h 13m · MPA R · Music, Comedy, Crime

## Identity

The Blues Brothers

- **Canonical:** https://film.one/film/the-blues-brothers
- **Type:** Film
- **Fi1m ID:** the-blues-brothers
- **IMDb ID:** tt0080455
- **TMDB ID:** 525
- **Wikidata ID:** Q109767
- **Same entity:** https://www.imdb.com/title/tt0080455/, https://www.themoviedb.org/movie/525, https://www.wikidata.org/wiki/Q109767

**Fi1m score: 81** · Critics 69 from 7 reviews

*In a sentence:* Even a mission from God should leave more time for Aretha Franklin

> John Landis’s musical comedy earns our affection through its singers and the stubborn composure of John Belushi and Dan Aykroyd. The comic destruction goes on too long, but the music makes the indulgence worth forgiving.

## Synopsis

Jake and Elwood Blues describe their undertaking as a mission from God. John Belushi and Dan Aykroyd play the pair in John Landis’s musical crime comedy, where music shares space with the brothers’ dealings. James Brown appears as Cleophus James, Cab Calloway as Curtis and Ray Charles as Ray. Aretha Franklin plays Mrs Murphy and sings “Think”, while “Gimme Some Lovin’” meets rejection at a country bar. Landis and Aykroyd write the story. The supporting cast also includes Steve Cropper, Donald ‘Duck’ Dunn and Lou Marini.

## Review

*The Blues Brothers* is a generous musical comedy that takes too long to finish enjoying itself, and we recommend it with that reservation. John Landis and co-writer Dan Aykroyd give Jake and Elwood a mission from God, a useful excuse for treating their business with unreasonable solemnity. The pleasure is in how confidently the film makes room for musicians. At 133 minutes, it could afford to make a little less room for everything else.

John Belushi’s Jake and Aykroyd’s Elwood are funny because neither seems inclined to acknowledge how ridiculous the undertaking has become. Their straight-faced delivery gives the comedy something steady to work against, and Belushi brings enough personality to keep the joke from becoming mechanical. Aykroyd is an effective partner precisely because he does not keep asking for our attention. The difference between them sustains stretches when the writing gives them little beyond a shared determination to carry on.

We grinned through Aretha Franklin’s “Think”. Her attack on the words gives Mrs Murphy an impatience that is funny before the surrounding comedy does anything to help. The number has its own momentum, and Landis is sensible enough to let Franklin supply the excitement. James Brown, Cab Calloway and Ray Charles deserve more than respectful introductions, and the film gives its musical performances enough room to justify their presence.

Stephen M. Katz’s photography gives the performers room in the frame, which matters when Franklin is doing so much with her whole bearing. That restraint is valuable in a comedy otherwise so keen to make a commotion. John J. Lloyd’s production design helps the country bar feel like a place whose customers know what they want to hear. The rejection of “Gimme Some Lovin’” is a useful joke about the limits of the band’s appeal, and their confidence benefits from the interruption.

George Folsey Jr.’s editing gives the musical passages their own momentum, allowing the songs to feel like substantial performances. That matters because the film would be a much meaner proposition if its guests were only there to be recognised. Elmer Bernstein’s music supplies capable support, though it is the songs that stay with us. The willingness to spend time on them is one kind of generosity we have no wish to discourage.

The chases are funny, and Landis gives their excess a scale that suits the brothers’ unreasonable certainty. But the destruction goes on after the joke has registered, and more activity does not always mean more amusement. Folsey’s editing cannot disguise how often the script returns to the same comic method. Musical comedies can survive a thin story; Landis and Aykroyd ask this one to survive too many extended interruptions as well.

The musicians are more compelling than the leads, which is a reasonable objection if the brothers are the main attraction. We are happy to take Belushi and Aykroyd as the hosts, giving these performers a comic setting without demanding to be the most interesting people in every scene. That is a sensible arrangement for a musical comedy, and it survives a considerable amount of untidy storytelling. Allow a long evening, and do not expect the singing to be the part that tests your patience.

*Fi1m score 81, published 15 September 2026.*

## What the critics say

The reviews lean positive, with praise clustering around the rhythm and blues performances, the soundtrack and the physical comedy. The musical numbers are the most consistent pleasure, earning approval even from critics who find the surrounding film excessive. More enthusiastic reviews also celebrate the inventive car chases, ambitious stunt work and Belushi and Aykroyd’s straight-faced performances, treating the sprawling chaos as part of the appeal.

The disagreement concerns how much of that chaos the film can sustain, and how it treats the black culture it celebrates. Some critics find the chases exhilarating; others see repetition and a thin story stretched too far. Time Out admires the music but questions the cultural tourism, while The New York Times finds the staging and editing exhausting and the brothers’ attachment to black culture insufficiently explored. The spread is substantial: the same excess that delights the admirers wears down the dissenters.

## Straight answers

**Is The Blues Brothers worth watching?**

*The Blues Brothers* is worth watching for anyone who wants a musical comedy with room for real singers, and we scored it 81. Aretha Franklin, James Brown, Cab Calloway and Ray Charles are given proper performances, and John Belushi and Dan Aykroyd hold the film together with straight faces. The car chases and comic destruction run on well past the point of the joke, so allow a long evening.

**How long is The Blues Brothers, and what is it rated?**

*The Blues Brothers* runs 2h 13m and is rated R by the MPA in the US. It is a music and comedy film.

**Where can I watch The Blues Brothers in the US?**

*The Blues Brothers* is streaming on Netflix in the US, and it is also available to rent from Amazon Prime Video from $3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is The Blues Brothers, and is it suitable for children?**

*The Blues Brothers* carries a UK 15 certificate, so it is not intended for young children, though the review finds little in it to frighten anyone. Its violence is comic destruction on a large scale, chiefly cars, and the film treats it as a joke rather than a threat. Older teenagers who can sit through 133 minutes should be fine with it.

**How does The Blues Brothers compare to The Commitments?**

*The Blues Brothers* and [*The Commitments*](https://film.one/film/the-commitments) are both comedies about bands whose musical confidence outruns their good sense, but they differ in scale and manner. Landis's film is a big, untidy affair built around guest appearances from soul legends and long chases; Alan Parker's is smaller, warmer and more tightly told, if a little polished. We recommend both, the Dublin film for company and story, the Chicago one for the singers.

**What should I watch after The Blues Brothers?**

After *The Blues Brothers*, try [*The Commitments*](https://film.one/film/the-commitments) (1991, Fi1m 82): Another band discovers that musical confidence does not make people easier to manage. Then [*A Hard Day's Night*](https://film.one/film/a-hard-days-night) (1964, Fi1m 86): Deadpan mischief and songs that more than justify the interruptions.

### Reviews we read (11)

- **The Telegraph** (85/100, inferred): The 1980 film is a comedy classic recognised as one of Landis's finest, with memorable car chases and terrific musical performances. [Read](https://www.telegraph.co.uk/culture/film/filmreviews/10509291/The-Blues-Brothers-review.html)
- **Empire**, Kim Newman (80/100, inferred): The film is a cult hit whose over-the-top style and music captured the counterculture mood of its era. Newman singles out the exceptional rhythm and blues soundtrack and the authentic performances by legendary musicians for particular praise. [Read](https://www.empireonline.com/movies/reviews/blues-brothers-review/)
- **Radio Times**, John Ferguson (4/5): This wonderful sprawling mess remains one of the best musical comedies of modern times. It singles out the string of rousing musical numbers and iconic cameos from music legends for praise alongside the spectacular car chase. [Read](https://www.radiotimes.com/movie-guide/b-tqcaxs/the-blues-brothers/)
- **The Guardian**, Peter Bradshaw (4/5): The stunts remain impressive in this re-release of the 1980 comedy, with plenty of laughs from the brothers' chaotic quest. [Read](https://www.theguardian.com/film/2009/jul/24/film-review-the-blues-brothers)
- **Time Out**, Tom Huddleston (3/5): The film is a mix of soul-stirring celebration of rhythm and blues and crass cultural exploitation. It singles out the brilliantly performed music sequences for praise while complaining about the excessive car chases and cultural tourism. [Read](https://www.timeout.com/movies/the-blues-brothers)
- **Evening Standard**, Derek Malcolm (50/100, inferred): The reviewer expresses puzzlement over the film's enduring cult status despite its excessive budget and premise. The music is noted as a possible reason for its appeal to fans, with the black performers singled out as more authentic than the leads. [Read](https://www.standard.co.uk/culture/film/the-blues-brothers-lay-waste-to-chicago-once-more-7415644.html)
- **The New Yorker**, Pauline Kael (50/100, inferred): Kael reviews the film alongside another release in her Current Cinema column. The verdict and specific praise or complaint details are not extractable from available metadata without full text access. [Read](https://www.newyorker.com/magazine/1980/07/07/muckrakers-and-saints)
- **RogerEbert.com**, Roger Ebert: The film is a big, raucous powerhouse that works as a musical despite its over-the-top chaos and massive scale. Ebert singles out the sensational chase sequences and stunt coordination, along with the strong personalities of Belushi and Aykroyd, for praise. [Read](https://www.rogerebert.com/reviews/the-blues-brothers-1980)
- **The New York Times**, Janet Maslin: The movie is airless and exhausting, with too much overkill in editing, staging, and chases that highlight its hollowness despite the high budget. Maslin complains about the over-staged elements and neglect of the story's potentially interesting thread about the brothers' love of black culture. [Read](https://www.nytimes.com/1980/06/20/archives/blues-brothersbelushi-and-aykroyd.html)
- **Variety**, Variety Staff (**): The film is basic and fleeting in inspiration and humor, akin to old Abbott and Costello fare but at a vastly higher budget. Variety singles out the musical performances by Aretha Franklin and others as the greatest pleasure, while noting Landis keeps the chaos reasonably controlled. [Read](https://variety.com/1979/film/reviews/the-blues-brothers-1117789404/)
- **Eye for Film**, Jennie Kermode: The critic finds the film unbeatable for its slapstick, inventive chases, memorable lines and blues soundtrack. She singles out the perfect execution and charismatic straight-faced performances by Belushi and Aykroyd for particular praise. [Read](https://www.eyeforfilm.co.uk/review/the-blues-brothers-film-review-by-jennie-kermode)

## Details

- **Director:** John Landis
- **Director:** John Landis
- **Writer:** John Landis, Dan Aykroyd
- **Cinematography:** Stephen M. Katz
- **Editor:** George Folsey Jr.
- **Music:** Elmer Bernstein
- **Production design:** John J. Lloyd
- **Costume design:** Deborah Nadoolman Landis
- **Producer:** Robert K. Weiss
- **Cast:** John Belushi as 'Joliet' Jake Blues; Dan Aykroyd as Elwood Blues; James Brown as Cleophus James; Cab Calloway as Curtis; Ray Charles as Ray; Aretha Franklin as Mrs. Murphy; Steve Cropper as Steve 'The Colonel' Cropper; Donald 'Duck' Dunn as Donald 'Duck' Dunn
- **Runtime:** 2h 13m
- **Certificate (MPA):** R
- **Release (the US):** 16 June 1980
- **Genres:** Music, Comedy, Crime
- **Budget:** $27 million
- **Box office:** $115 million

## Where to watch in the US

- Netflix: streaming
- Amazon Prime Video: rent $3.99, uhd
- Amazon Prime Video: buy $14.99, uhd

*Checked 2026-09-15.*

Also available in: AT, AU, BE, BG, CL, CO, CZ, DE, DK, ES, FR, GB, IE, IT, JP, LT, NL, NO, NZ, PL, PT, RO, RS, SE, TR, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Commitments* (1991), Fi1m 82: Another band discovers that musical confidence does not make people easier to manage. — [Fi1m page](https://film.one/film/the-commitments.md)
- *A Hard Day's Night* (1964), Fi1m 86: Deadpan mischief and songs that more than justify the interruptions. — [Fi1m page](https://film.one/film/a-hard-days-night.md)
- *The Girl Can't Help It* (1956): Rock and roll performers repeatedly steal a comedy from its nominal stars.
- *Swing Girls* (2004): A Japanese school band learns swing, with room for mistakes and pleasure.
- *The Sapphires* (2012): Soul performances give this Australian group comedy its warmth and purpose.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-blues-brothers