A fledgling Staten Island journalist witnesses a brutal murder in the neighboring apartment of a French-Canadian model, but the police do not believe that the crime took place. With the help of a private detective, she seeks out the truth.
Young business executive has a change of heart and becomes a struggling but happy tap dancing magician. His old boss ends up ruined without his best employee, but finds a way to bounce back by commercializing his idea.
Harry Valentini and Moe Dickstein are both errand boys for the Mob. When they lose two hundred fifty thousand dollars, they are set up to kill each other. But they run off to Atlantic City, and comedy follows.
The Staten Island apartment of lovely model Danielle becomes the scene of a grisly murder that is witnessed by her neighbor, Grace, a reporter. But the police don't believe her story, so it's up to Grace to solve the murder mystery on her own.Written by
Margot Kidder and Jennifer Salt were roommates in Southern California in the early 1970s while they were struggling performers. They held parties for their friends and neighbors who included Paul Schrader, Blythe Danner, Bruce Paltrow and Brian De Palma. One year at Christmas, Kidder and Salt opened separate boxes under their Christmas tree and each one contained the script to this film. This project was De Palma's gift to them. See more »
Danielle and Phillip have their date after their TV appearance in Manhattan.
Phillip tells her he will get his car. After their date they are seen taking the Staten Island Ferry yet he drives her to her apartment building in his car. While no longer the case, before the terrorist attacks on 11 September 2001 vehicles were allowed on the ferries. See more »
Did you know that the germs can come through the wires? I never call and I *never* answer. It's a good way to get sick. Very, very sick... That's how I got so sick! SOMEONE CALLED ME ON THE TELEPHONE!
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For the original 1973 UK cinema release cuts were made by the BBFC to edit the violent stabbing of Phillip Woode. All later releases were fully uncut. See more »
Brian DePalma made his feature length horror debut with "Sisters" a delightfully sinister film in the tradition of Alfred Hitchcock. Unfortunately, DePalma has endured an unfair amount of backlash over the years from both critics and moviegoers a like who feel his work too closely resembles that of Hitchcock. One major difference between the two is where Hitchcock played on the imagination of the audience as a tool to generate shock and horror, DePalma gleefully pushes the envelope a step further in staging stylized yet graphically brutal murders that the camera does not shy from. There are two such sequences in "Sisters" and they both still stand today, some thirty-two years later, as extremely unsettling and highly effective scenes (the visibly fake blood notwithstanding). And while one cannot deny that the majority of DePalama's repertoire borrows liberally from Hitchcock, DePalma is still a master of the macabre in his own right (after all, imitation has been called the highest form of flattery). And despite what the critics say, DePalma IS credible in the eyes of his loyal legion of fans based on his strong skill of affectionately paying homage, while at the same time invigorating the material with his own flair of unique visual imagery. And in this manner, "Sisters" does not disappoint. By combining his then experimental split screen technique with a brilliantly unsettling score by composer icon Bernard Herrmann, a "Rear Window" esquire story, and an eerie crackerjack sort of ending DePalma successfully creates a truly thrilling viewing experience. The film also succeeds in not taking itself too seriously and is further buoyed by definitively camp performances from lead actresses Margot Kidder and Jennifer Salt. The brief yet brutal violence and far-fetched plot may put off some viewers, however the film is highly recommended to genre enthusiasts and a must see for Brian DePalma die hards, an 8/10.
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