X
- 1973
- R
- American International Pictures (AIP)
- 1 h 33 m
- 1973
- R
- American International Pictures (AIP)
- 1 h 33 m
Summary A small-time reporter tries to convince the police she saw a murder in the apartment across from hers.
Directed By: Brian De Palma
Written By: Louisa Rose, Brian De Palma
- 1973
- R
- American International Pictures (AIP)
- 1 h 33 m
- 1973
- R
- American International Pictures (AIP)
- 1 h 33 m
Sisters
70
6.4
Summary A small-time reporter tries to convince the police she saw a murder in the apartment across from hers.
Directed By: Brian De Palma
Written By: Louisa Rose, Brian De Palma
Top Cast
Metascore
Generally Favorable
Based on 16 Critic Reviews
70
69% Positive
11 Reviews
11 Reviews
31% Mixed
5 Reviews
5 Reviews
0% Negative
0 Reviews
0 Reviews
Metascore
Generally Favorable
Based on 16 Critic Reviews
70
69% Positive
11 Reviews
11 Reviews
31% Mixed
5 Reviews
5 Reviews
0% Negative
0 Reviews
0 Reviews
Brian De Palma‘s shocking exploitation gut-punch, Sisters, is a perfectly orchestrated exercise in style, a staging of some of the finest suspense sequences since Alfred Hitchcock was above ground.
Sisters never carries any feeling that De Palma is showing off or flexing his cinematic chops because he can, or is above the material. The film is utterly transfixing because it plays its schlock straight, and paired with Hermann’s hair-raising throwback score, the effect is giddy.
The first full flowering of the De Palma style, the film cleverly uses split-screens and cross-cutting to string the audience along while heightening the emotions of any given scene nearly to the point of parody. The movie is playful and provocative -- at once one of the scariest and funniest horror movies of the '70s. [21 Oct 2018, p.E7]
Brian De Palma’s Sisters was made more or less consciously as an homage to Alfred Hitchcock, but it has a life of its own and it’s a neat little mystery picture.
What elevates Sisters above a standard Hitchcock rip-off, and makes it authentically De Palma, is its typically unsubtle and scathing social critique.
At the time, its way of wringing thrills from genre conventions at the same time it mocked them seemed imaginative and original; but in the light of Carrie (1976), Obsession (1976), and The Fury (1978), it seems more like a dead end—the mark of a superficial stylist unable to take anything seriously, including his own work.
In retrospect, it does indeed appear as a highly efficient gut-ripper, with far more suggestion than De Palma's later work of the loose-end flux of real life going on in the background. There is, however, much early evidence of his rampant misogyny, his increasingly blatant stealings from Hitchcock, and most unforgivable of all, his clear distaste for the people he creates.
User Score
Generally Favorable
Based on 5 User Ratings
6.4
80% Positive
4 Ratings
4 Ratings
0% Mixed
0 Ratings
0 Ratings
20% Negative
1 Rating
1 Rating
User Score
Generally Favorable
Based on 5 User Ratings
6.4
80% Positive
4 Ratings
4 Ratings
0% Mixed
0 Ratings
0 Ratings
20% Negative
1 Rating
1 Rating
There are no user reviews yet. Be the first to add a review.
Production Company
Pressman-Williams Enterprises
Release Date Mar 26, 1973
Duration 1 h 33 m
Rating R
Tagline No one will be seated during SHOCK RECOVERY PERIOD!
Awards
Academy of Science Fiction, Fantasy & Horror Films, USA
• 1 Nomination
