Watch The Sisters For Free

Very best movie i ever watch

Don't listen to the Hype. It's awful

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

It's not enough for the director to parade overeducated ill-tempered females into the imagined space of the faculty lounge, he seeks to imbue them with imagined glamor or "righteousness" in that they interrupt one another (even when making birthday speeches) with criticisms on grammar. His knowledge of drug-use is even more distressingly inadequate than his shocking misunderstanding of the intellectualism his characters demonstrate. The young sister, her face full of baby fat and a demeanor more akin to someone tranquilized is portrayed as a meth addict, and the educated elite can do nothing but tell her "it'll be alright." Maria Bello's character seems to enjoy cuckolding her husband for months at a time, but that part of the movie is simply skipped, and we never learn a thing why she enjoys (loves) the man she is having an affair with. The most tragic part of the movie is the director's mis-use of "Nancy," the somewhat trashy salesgirl marrying the weak brother. It was as if Seidelman was afraid this character might come-alive and eat his lunch, so she also was muzzled and made somewhat impotent. We learn nothing from Mr. Seidelman other than he needs an education (in life) before he starts another pretentious effort at biting off more than he can chew.

THE SISTERS is adapted by Richard Alfieri from his play 'The Sisters' which in turn was adapted from Anton Chekov's 'The Three Sisters': the theatrical aspects of the play remain intact in this film version - and that is most definitely a plus! All of the action takes place on an obvious set (an enormously beautiful Faculty Lounge for a university where nearly everyone in the play is employed, and in a hospital waiting room) and the lines are richly imbued with dialogue that mirrors Chekov's form despite the fact that Chekov's play has been updated to the present time with all the changes (and similarities!) of modern day family life.The story is well known: a family of three sisters and a baby brother are both united and bonded by the past and show the scars of maturing on their journeys from a childhood to adulthood with a father that was both a hero to some and an incestuous attacker to another. One by one each of the sisters and the brother peel away the trappings that hide each other's realities and make public the pain endured in their dysfunctional family. Maria Bello as Marcia carries the bulk of the story as the abused, spiteful, vitriolic, unhappy head of the family unit: she is astonishingly fine. Mary Stuart Masterson is Olga, the closeted lesbian chancellor who has never had the luxury of sharing her private feelings with her sisters for fear of the consequences of her sexuality. Erika Christensen is the youngest sister Irene whose painful life as being treated as a child leads to her life of drug abuse. Allesandro Nivola is Andrew, the baby brother left in charge of the family estate in the South and has married a trashy, mouthy floozy Nancy (Elizabeth Banks) who is the sole challenge to the family's unity. The stalwart Greek chorus is the old professor Dr. Chebrin (Rip Torn) who watches as the various characters tangential to this crumbling family vie for inclusion: Gary Sokol (Eric McCormack) whose asides keep the theatrical flavor moving; David Turzin (Chris O'Donnell) who loves and wants to possess Irene and is in bitter competition with Gary for her affections; psychologist husband of Marcia Dr. Harry Glass (Steven Culp); and the visitor from the past Vincent Antonelli (Tony Goldwyn) who changes Marcia's existence transiently. Each actor is superb, playing the marvelous dialogue for all its worth and giving us fully realized characterizations. Arthur Allan Seidelman is the fine director and the elegant musical score is by Thomas Morse.There is action in this story and movement inside and outside the ways films should be shot when making a play into a movie. But for those who love the theater seeing this film little film will create a desire to have this exact company of actors set up shop in a nearby legitimate theater to allow for the grand impact of a fine play sifted through a fine adaptation to be absorbed repeatedly. Highly recommended. Grady Harp

THE SISTERS is an honest attempt at American tragedy. We are living in the American century (expiration date: 2045 a.d.). Tragedy is historically the result of Fate, deprivation or ethnic conflict. Since America is poly-theistic, wealthy and multi-cultural, it is difficult to craft an authentically American tragic narrative. Americans have too many choices to be reasonably cornered-into making a tragic decision. American movies have historically been optimistic, that's why our entertainment has been so successfully exported around the world. We delivered Art Deco opulence with "Fred and Ginger" during the depths of the Great Depression, THE SOUND OF MUSIC during the escalation of the Vietnam War, and JAWS during the Watergate detoxification. America is not a tragedy-ridden culture, so we must stage our tragedies on an intimate scale, keep it close to home, so to speak. THE SISTERS wisely keeps the tragedy close to the chest. Child incest. Adolescent sexual abuse co-dependency. Marital emotional battering. Adultery. Homosexuality. Addiction to crystal methampetimine. And a jagged little green pill called "jealousy". Every American can relate to jealousy: that is our cultural Achille's Heel, after all. By layering one Hot Button topic over another, THE SISTERS leaves many promising topics unresolved, and perhaps fails to resolve any single topic satisfactorily. But compared to films such as ONE THOUSAND ACRES or THE UPSIDE OF ANGER, THE SISTERS covers its' territory with greater assurance and less contrivance. That is largely due to the lead performance by the always-impressive Maria Bello. Bello's movie career is one of depicting small hurts that can spiral into tragedy. Bello doesn't roll with the punches that life throws, but no one takes a punch better than Maria. Bello is the actress that Courtney Love aspired to be back in the 1990's; raw, whip-smart and reckless; and a performer who always gives 110%. Bello's eyes are not blue, her posture isn't perfect, and she doesn't have an Australian accent. But Bello knows how to walk in high heels, has more than held her own against no less than Mel Gibson (PAYBACK), and registers every emotional slight with the facility of a Juliette Binoche. Bello made a romantic leading man out of William H. Macy (THE COOLER) and convincingly kicked Viggo Mortensen to the curb (A HISTORY OF VIOLENCE). Bello takes potentially-thankless roles (the proprietor of COYOTE UGLY, for example) and slowly squeezes each moment into a diamond. In THE SISTERS, Bello plays a survivor of child abuse in an empty marriage who puts everyone she loves through hell by her relentless airing of familial dirty laundry. As Glenn Close might say, Bello will not be ignored! But unlike the proficient but somewhat empty tirades of Elizabeth Taylor in WHO'S AFRAID OF VIRGINIA WOOLF?, Bello uses her voice like a concert pianist: she is never just reciting the lines or playing to the back wall of the theater. Bello modulates her performance so that we can forgive the bombast and embrace the small truths which she utters. While playing a character who always has a frog ready to leap out of her throat, Bello never loses sight of the humanity behind the histrionics. It is one hell of a turn! By contrast, no one is better at phoning it in than Rip Torn, who; although he has the best lines in the movie; is also the least fully-drawn character. Tony Goldwyn is artificially parachuted-in to this family's seventh circle of hell, but he manages to acquit himself admirably. Eric McCormick starts in a dark place on the balcony and marinates there for the full stretch: we never really find out what's eating Eric. Is Erika Cristensen (TRAFFIC, anyone?) to be cast as an upper-class Meth addict for the rest of her career? Cristensen's recovery is remarkably painless, especially when compared to, say, Jamie Foxx's in RAY. Mary Stuart Masterson, like her fellow Brat Pack alumni Mare Winningham, brings effortless professionalism to roles that contain only hints of a person with an inner life. She is once again not allowed an emotional breakthrough in her buttoned-up Academic character. By setting the story in academia, a certain stuffiness threatens to muck-up the narrative but, again, Bello keeps it raw from tip to tail. In higher education, objectivity is in short supply and access to the inner circle is highly restricted. Just like family, if you think about it. Such isolation allows otherwise avoidable indiscretions to become violations of murderous magnitude. THE SISTERS recognizes that if you never let the cat out of the bag, when you least expect it, that cat will hand you your hat. As a warning against letting a little all-American jealousy get the better of you, THE SISTERS delivers the goods!

I had the privilege of meeting the Director, Arthur Allan Siedelman at the screening of this film. This is probably the first "dialogue-heavy" movie that I really liked. This film is based on Chekov's "The Three Sisters" which is a great story to begin with. The acting is in one word stunning. Script is like I said very rich in dialogue. Allan Siedelman's direction is very enticing and inviting. I'll root for Maria Bello for an Oscar nomination for her brilliant performance. Scoring is beautiful but subtle. When released, this movie should draw rave reviews and can only be more successful as more people get to watch it.