User reviews

When I think about it, there have been quite a few cinematic variations on Anton Chekhov's classic "The Three Sisters" from Woody Allen's austere "Interiors" to Diane Keaton's execrable "Hanging Up". Playwright-turned-screenwriter Richard Alfieri provides a more literal adaptation by updating the original play to the present and resetting it primarily in a Manhattan faculty lounge on the Upper West Side. Longtime TV director Arthur Allan Seidelman guides an impressive ensemble of actors in the proceedings, but the result unfortunately feels like a stagy TV-movie brimming with overripe theatrics. The abundance of characters and multi-layered set-up seem to make the actors chew the scenery excessively, though a few still make indelible impressions.

The structure and themes of the Chekhov play remain the same. The plot focuses on the four Prior siblings - Marcia, Olga, Irene and Andrew - and their clashing destinies and unraveling secrets furnish the drama as they get together for Irene's 22nd birthday party. Maria is the beautiful, vitriolic older sister unhappily married to a passive psychology professor while embarking on a torrid affair with Vincent, their father's former teaching assistant who has come unexpectedly for a visit. Irene is the buttoned-up middle sister, an English literature professor and by default the family conciliator. Irene is the protected baby sister whose sunny disposition masks deeper insecurities that lead to a crystal-meth overdose. Andrew is the weak, emasculated brother who has brought home Nancy, his slatternly fiancée, whom his sisters, especially Marcia, despise. There are others who encircle the family like a vise with their own histrionics - kindly department head Dr. Chebrin and dueling professors Gary Sokol and David Turzin, both in love with Irene and seething with rage against each other.

There are plenty of fireworks, but with so many characters to track, Seidelman produces a truncated flow to the story while making the movie itself feel overlong. The performances are all over the map, though each seems to have at least one bravura set piece. As she proves in David Cronenberg's "A History of Violence", Maria Bello is one of the strongest actresses on screen today and makes Marcia a memorably fiery character, especially as she lays into the vulgar Nancy or succumbs to Vincent's ardent attention. As Irene, the underused Mary Stuart Masterson brings a coiled sense of repression that makes the contrast between her and Marcia biting and poignant. Less interesting is Erika Christensen, who makes Irene sweetly vulnerable but cannot transcend the trite arc of her character. Chris O'Donnell barely registers as the romantically obsessive David, but Eric McCormack - who will have a challenge overcoming his pervasive Will Truman persona - is all sarcastic blather as Gary until he manages to convey the character's pathetic jealousy.

Elizabeth Banks - memorable as the lusty bookstore clerk in "The 40-Year Old Virgin" - makes the vulgarity of Nancy palpable if rather obvious with a wavering Bronx accent, while Alessandro Nivola - equally memorable as the pampered rock star in "Laurel Canyon" - is effectively passive as Andrew. Tony Goldwyn seems oddly stilted as Vincent, making him a dispassionate match for Marcia's voracious self-destruction. At times, the dialogue is insightful with clever zingers. At other times, it sounds laughably mannered, and the general dysfunctional situation gets wearing over time. A few cathartic moments shine through, especially toward the end when Marcia and Olga come to terms with each other. The DVD is short on extras - just the original trailer and an overly earnest commentary from Seidelman and Alfieri.

When the former assistant to a deceased eminent academic comes to pay his respects to the great man's family, the visit stirs old, half hidden conflicts and triggers an avalanche of emotions in this overheated, theatrical drawing room drama based on Anton Chekhov's play, "The Three Sisters." (Richard Alfieri wrote the screenplay, which he adapted from his own updating of Chekhov's play.) Maria Bello, Mary Stuart Masterson and Erika Christensen play, respectively, Marcia, Olga and Irene, the three Prior daughters.

Ms. Bello holds center stage most of the time, hurling one angry speech after another at just about anyone in shouting distance (though they're all in one room). She is angry primarily because her father systematically abused her sexually as a child, second because Harry Glass (Steven Culp), the psychologist she married, has not been able to heal her deeply wounded personality, and, finally and most recently, because Vincent Antonelli (Tony Goldwyn), the visitor, a man she become instantly infatuated with, turns down her overtures and leaves.

Baby sister Irene turns her hostility inward, and galvanizes everyone's attention by taking a large drug overdose. Andrew Prior (Alessandro Nivola), their brother, is angry too, but in sneakier fashion. He's mad because his sisters bully him and dislike his fiancée/bride Nancy (Elizabath Banks), who's also a nasty sort, someone deserving of the sisters' contempt. Then there's the incendiary social science professor, Gary Sokol (Eric McCormack), whose explosive behavior never ceases. Sokol's mad because Irene prefers another suitor, Sokol's erstwhile buddy, philosophy professor David Turzin (Chris O'Donnell), who doesn't seem to be mad at anyone. Olga, a bleak, unfulfilled Lesbian, at least keeps her unhappiness contained. She is the most dignified member of the family.

Somehow the veteran actor Rip Torn got himself inserted into this literal madhouse as old Professor Chebrin. And while Mr. Torn has been memorably hostile in some of his films (he's played gangsters, tough soldiers, tougher cops, Richard Nixon and even Judas Iscariot among 165 roles spanning a 50 year career), he's quite the good humored, sanguine fellow here, almost alone as a source of equanimity in these proceedings.

The screenplay is freighted with long, formalized verbal oratorios: these people don't talk like people talk. Such verbiage works on stage but is nearly always poison on the screen. The director, Mr. Seidelman, has made nearly 70 films, but almost all for television. This may explain the overacted, soap operatic tone of this movie. You've got to shout it out to be heard above the din of family life on the boob-tube. But the clamor of this film is ratcheted up way too much for pleasurable viewing on the big screen. (The IMDb says this film is 113 minutes long, so somewhere along the line 28 minutes got cut to create the version I viewed. Probably a good thing.) My Grade: 5/10 C

'The Sisters' is a lovely little family drama that I nearly missed. Obviously, I was glad I didn't.

At first, the movie just looks like two hours of people fighting with each other, and it is. But (highly due to Ms. Bello's performance)there is so much more than that: a human aspect and real characters (for the most part). However one-note the people may be, the writer adds little things here and there to make them diverse and relatable.

Maria Bello, as always, is amazing. She plays the angry sister, the one who is always prepared for an argument. Her performance is the best thing about the film. Bello expertly shows the changes her character experiences over the course of the movie. In the beginning, she is just shown as a snotty, sarcastic, rude woman. Over time, she lets us see the hidden vulnerability of a normally dull character, and by the end of the movie, Bello not only plays her part but becomes it, creating a human out of a very underwritten role.

Erika Christensen was a surprise. While she is not Evan Rachel Wood or Scarlett Johansson, she still has plenty talent for someone so young. With only one above average performance to her name (Traffic), I expected much less of her but she blew me away with her performance as the shy little sister. She is quite promising and again, I hope to see more of her.

The rest of the cast is just as good. Elizabeth Banks plays her role perfectly. She makes a seemingly one-dimensional person show more emotion than expected. Mary Stuart Masterson is also good, but I found her performance the most lacking.

Now for the flaws: the screenplay. Truthfully, they are all supposed to be college professors or students, but the vocabulary used is the most advanced I've seen in a film. This may sound like a stupid flaw, but it was the thing I noticed the most while watching this movie as it is as unrealistic as possible. It proves effective in a multitude of arguments, but it doesn't reveal anything about the characters aside from the fact that they are inhumanly smart. The other flaw is that the brother barely has any historical background shown, while his sisters reveal many of their memories; however, he is never in them. If the filmmakers had explored the characters, their relationships, and their motivation more, some of their actions wouldn't seem so absurd or out of place.

A very charming movie about anger, forgiveness, and family. ***/****.

The Sisters has an interesting scenario and will keep you guessing. Although it's good entertainment for a slow night, it's slightly over "dialoged" where you loose the rhythm, it has a tendency to feel like a play more than a movie, and the editing could be easily improved, especially for the cut scenes. The character of the "beautiful" sister can easily get on somebody's nerve, but it is well played as all the sister the sisters are, and even the brother to some extent. The other characters are much weaker.

Not bad, worth being seen if you feel like seeing a family going through theatrical drama.

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

If I wanted to just watch a bunch of generally unpleasant people fight with each other, I'd watch "Divorce Court." Although I suppose this movie is designed to show emotional complexity with its quibbling protagonists, it just doesn't work for me. None of these gals is particularly likable, so it is hard to care about them or the "family" they form.

Against this fairly negative backdrop, we have a plot where none of the real underlying problems, conflicts, or broken relationships is fixed. No one seems to gain insight over the course of the movie, no one seems to heal. A real disappointment.

I went to the video store last weekend not really knowing which horrible studio film I wanted to fall asleep to - the weekend prior I watched Hillary Swank's awful film THE REAPING... good premise, poorly executed. And why an Oscar winner starred, I have no idea?? Which brought me to THE SISTERS, and also probably answers my last question - Swank never could of wrapped her head around the dialogue with the same wit and sarcasm Maria Bello is able to execute. Why Bello hasn't won an Oscar, I have no idea -- she most definitely should of won a few awards for her star turn in THE SISTERS -- if not an Oscar, at least an Independent Spirit. This film gives it's viewers something magical to hold onto - rich dialogue that speaks to the soul and the mind (words with more than 1 or 2 syllables, oh my!!); actors who act with passion for a project and a screenplay they must of really believed in - because you know they didn't get paid for this film and you can't pull the wool over this many stars eyes!! Director Arthur Allan Seidelman has been around for a while and brings his A-game to adapting Chekov's masterpiece. The writer is a wizard of vocabulary who obviously understood the essence of what old Anton was trying to teach us all. Kudos to the writer, director, actors and crew - your efforts to bring quality American cinema to the screen is much appreciated!

I heard for years about THE SISTERS because it's based on Anton Checkov's play and my mother saw it on the stage years ago. And since it's a forgotten star studded movie I knew that I had to see it, but when I saw it last July it went a bit below my expectations. Now I am not saying it's bad but still not exceptional at least for me.

Marcia, Irene, Olga and Andrew Prior (Maria Bello, Erika Christensen, Mary Stuart Masterson and Alessandro Nivola) are four sibilings that live in modern New York all with their personal issues and with a seemingly perfect family life but on the inside full of contrasts. Especially after the death of their father (Rip Torn) there will be the occasion that will reunite the three sisters because every family has their own dark secrets (as the Italian title for this says).

The first part wasn't bad I admit it. All the cast members (Bello, Christensen, Masterson, Nivola, Torn, Tony Goldwyn, Chris O'Donnell and Elizabeth Banks) did their best with the material given, and I bet they liked to starring in something based on Chekhov. But as the movie progressed, and especially in the second half, there were too many conflicts and the characters behaved so nastily between them that it made me lose my interest, and if it wasn't for this I would have given it a 8.

Overall, if you are familiar with the source material it's a must see but for others... only of interest if you love scenes of characters bickering to each other or movies about conflicted families.

The cast seemed promising, as did the weak reference to Chekhov, but wow is this movie bad. The writing is shamefully bad, swinging like a pendulum from bathos to banal pop psychology. It's clear that the actors gave up. Nobody's any good in it. My wife and I watched for ~ten minutes, stared at each other in amazement, and then somehow managed to endure the rest—we've given up on far better movies—out of some macabre fascination. What kept us watching was probably the question: How does somebody make a movie this bad with so many creditable actors? Apparently I'm supposed to write at least ten lines, but that seems a shame for such an awful movie. I can say, though, that my strongest impression about the movie is that both the writer and director seem to have never experienced an honest emotion in their lives to have collaborated to create something like this.

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.

I just watched the DVD of this movie tonight. As far as I'm concerned, it earned a place on my All Time Worst Movies. This was really not a movie... it was more like a filmed play (most of the film takes place in a single room). I thought the acting (or perhaps it was just the script) was generally terrible. I was ready to turn it off after less than 30 minutes but did watch it to completion to see if it got any worse (and I think it did). I was just informed my comment is too short, but there really isn't much more I care to say about this "film." I am well educated with two advanced degrees and found this story to be not very interesting at all. I didn't identify with a single character in the film. I can't imagine spending time, or carrying on an intelligent and satisfying conversation with any of them with the possible exception of the English Dept. head. I thought all of them were overly melodramatic. I wasn't interested in a single character or the scripted relationships between them. Truly a dysfunctional family with only a few redeeming traits (about the same redemption value as the old 2 cent coke bottle). I should add that while I am not a student of the cinema, I do make documentary films that air on television.

After seeing "The Family Stone" on a recent airline flight I though I had seen the worst film ever made (after "Waterworld" of course). I unfortunately just sat through "The Sisters" as a part of the Key Cinema program.

This film can best be described as a high quality audio-video recording of a mediocre play employing small screen actors. I imagine that the play might be considered "good". As a movie, it's just awful. The dialogue between the actors actually becomes annoying. I love plays. I love good theater actors. But I want to see them "in" the theater, not when I go to a movie!!

As for the actors.... Let's see - Eric McCormack as a brooding professor who only speaks in sarcastic remarks - what a stretch! I kept waiting for Grace to show up. Rip Torn? Chris O'Donnell? Mary Stuart Masterson?? WOW - what a powerful big screen cast - NOT!!

I'm sure that there is a demographic that will enjoy this movie on Lifetime or Oxygen. However, I'm not so sure after my wife overheard comments in the ladies room from several "mature" women who also thought the movie was "dreadful"!!

I imagine Anton Chekhov is turning over in his grave about now.........

Without a doubt, one of the best independent films this decade.

With a dialogue-rich script that reminds us why we enjoy cinema (no special effects here!), and helmed by one of the only director's in Hollywood capable of gathering a cast of this magnitude (check out his credits -- they're unbelievable!), THE SISTERS takes the audience on a journey into a family's inner workings - flaws, affairs, working dysfunctions and all.

Maria Bello gives a dynamic, deep and moving performance, which I heard she won several awards for on the festival circuit.

Eric McCormack comes out of no where with a raw intensity that changes the way you will see him.

Tony Goldwyn's masculine sexuality proves his leading man status will for sure keep him working for years to come.

But none of the above would have been possible without a script written as brilliantly as this one. Dialogue-rich, this script delivers an emotional journey with powerful scenes that keeps the story moving and the momentum growing - all culminating in a climax of intensity and drama that hits you with the realities of the illusion of family.

This is a staunchly independent film that anyone interested in superb cinema should definitely see.

An outstanding film from Arthur Allan Seidelman, based upon a play by Richard Alfieri (Puerto Vallarta Squeeze).

Maria Bello just dripped sensuality in every word and movement throughout, except when she was spitting venom like "This party isn't for you anyway. It's for our little unborn nephew... God save him from your genes." Or, "Harry... Harry, if you want to withhold approval, intimidate and give rewards or punishments... buy a dog." She was the child of incest by her father and that rape caused her immense pain that permeated every relationship. It is a fact of life, and I have never seen it more brilliantly displayed. Alfieri captured the lifelong torture in his word, and Bello displayed it with emotion that made this film.

That is not to say that Bello was it entirely. Eric McCormack ("Will and Grace") had a pain of his own and he was absolutely dripping with venom in his snide remarks and eventual explosion of the bottles up anger. A man afraid to revel his feeling for fear of rejection, he got to the point where he could no longer contain.

Elizabeth Banks was the perfect "white trash" that felt out of place in this family - and she was, marrying the out of place brother Alessandro Nivola. Mary Stuart Masterson was also extremely good as the sister who could not reveal her pains either due to her position at the school. Rip Torn added perspective as the professor who read headlines out loud.

Great performances from all and a film worth your time.

Brilliant performances, Maria Bello is stand out. Her portrayal of Marcia shows how good of an actress she really is. Bello has the ability to play strong and viscous along side damaged and vulnerable without breaking a sweat. Her performance alone is worth the watch. The film brilliantly intense and is like watching a play on screen. The script and acting are strong enough to allow this to happen. You can fully relate and believe in the character's and the back story. Overall this is a great film about a dysfunctional family trying to get to grips with change and its a great version of Chekhov's play. It is refreshing to watch a clever and complex film with real dialog and real actors.