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The Sisters (2006)
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Reviews Counted:26
Fresh:8
Rotten:18
Average Rating:4.5/10
Runtime: 1 hr 55 mins
Genre: Dramas
Synopsis: Maria Bello follows up her startling turn in David Cronenberg's A HISTORY OF VIOLENCE by appearing in this low budget adaptation of an Anton Chekov play, originally named THE THREE SISTERS. Bello... Maria Bello follows up her startling turn in David Cronenberg's A HISTORY OF VIOLENCE by appearing in this low budget adaptation of an Anton Chekov play, originally named THE THREE SISTERS. Bello plays Marcia, one of three sisters around whom the story is based. Director Arthur Allan Seidelman opens with Marcia and Olga (Mary Stuart Masterson) preparing a birthday surprise for their younger sister, Irene (Erika Christensen). The dialogue-heavy film unfolds with deep-seated, clearly longstanding rifts opening up between Marcia and her siblings and their other family members, especially when a man (played by Tony Goldwyn) from their childhood in Charleston makes a surprise appearance and jolts a few unhappy memories out of the women. Revelations about the sisters' turbulent relationship with their father trickle sadly from Marcia's lips, Irene has to quell a storm brewing between two men (played by Chris O'Donnell and Eric McCormack) with romantic intentions toward her, and to make matters worse, their troublesome brother (Alessandro Nivola) and his girlfriend (Elizabeth Banks) frequently bring more grief whenever they're around. Seidelman makes good use of flashbacks to help fill out the story, and much of Chekov's dialogue is updated for the contemporary setting of the film. Bello shines throughout, showing that even with her star in the ascendant, she's not afraid to take on some challenging work. Packed full of argument and confrontation, THE SISTERS is a finely honed piece of work from all involved. [More]
Starring: Elizabeth Banks, Maria Bello, Mary Stuart Masterson, Erika Christensen
Starring: Elizabeth Banks, Maria Bello, Mary Stuart Masterson, Erika Christensen, Eric McCormack, Chris O'Donnell, Rip Torn
Director: Arthur Allan Seidelman
Director: Arthur Allan Seidelman
Studio: Arclight Films
Reviews for The Sisters
an aggressively frustrating and ultimately nonsensical waste of time and talent.
It's a tedious experience of otherwise promising material and covetous cast.
Ham-fisted, maddeningly overwritten, and about as subtle as a jackhammer.
Overwrought psychodrama revolving around the predictable warps and obsessions of three adult siblings.
The movie looks horrible. On the few occasions that the action moves outside the chamber room, it's as if the filmmakers were venturing forth on the planet Mars.
Richard Alfieri adapted his Chekhov-inspired stage play for this movie, but the outpouring of suppressed memories and emotions still seem to belong to the more personal realm of theater.
[Anton Chekhov's The Three Sisters'] egacy of stifled dreams and inter-familial anxieties are as relevant as ever. Updating it, however, should involve more than adding incest, lesbianism and the uncontrolled venting of spleen.
A pretentious, stagy and over-the-top update of Chekov's The Three Sisters.
Bello is phenomenally good as the embittered Marcia, while Stuart and Christensen do their best with their less complex roles, but they're all undermined by Alfieri's shrill, mannered dialogue and cliched backstories.
What's left is a series of fraught confrontations that are more shrill than insightful or wrenching.
Instead of anti-melodrama laced with surprising moments of comedy, which Chekhov managed, The Sisters settles for bloodless melodrama.
It's a bit of an oversimplification but still a rule no writer should forget: Insufferable characters make for an insufferable play or movie.
What we can guess, watching the film, is that the same players would make a good job of Three Sisters but are undermined by the faculty club, which works like a hotel lobby. There's no way to sustain dramatic momentum here.
At the very least, Chekhov's basic premise turns the burners up enough to keep the action lively, which may explain why so many recognizable names were drawn to such a marginal production.
Anyone looking for the playwright's undeniable insight into the female psyche is unlikely to find any such specimen here.
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