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3.5
2.008 Beoordelingen

Sisters

Geregisseerd door Brian De Palma
Verenigde Staten, 1972
Horror, Thriller

Samenvatting

A scary and stylish paean to female destructiveness, De Palma’s first foray into horror voyeurism is a stunning amalgam of split-screen effects, bloody birthday cakes, and a chilling score by frequent Hitchcock collaborator Bernard Herrmann.

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Sisters Geregisseerd door Brian De Palma
While Sisters is not his first overt nod to Hitchcock—that was Murder à la Mod (1968)—it is the best, and most mordantly funny, in a career that also includes the glosses Obsession (1976) and Dressed to Kill (1980).
October 23, 2018
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Shamelessly lurid, it’s also De Palma’s best. “Sisters” boasts an angsty score by Bernard Herrmann, who wrote the music for a number of Hitchcock films including “Psycho,” from which “Sisters” borrows much of its plot. De Palma also drew on Hitchcock’s brilliant use of editing to generate suspense, augmenting conventional crosscutting with his taste for split-screen action.
October 10, 2018
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Blurring the line between cheapo exploitation, arty experimentation, and outright Mad Magazine–style absurdity, Sisters offers an early, vivid glimpse of a young master coming into his own.
April 11, 2018
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Wat zeggen anderen?

  • tidal waif's rating of the film Sisters

    2,5 Watched it too long ago to make full sense of, but more vividly than before was I aware over the last few weeks of grinning stars' impatient rat-a-tat-tat on earth's domed windowpanes and Gemini's (j)ocular ring-a-rosy, when at the hospital I work at 4 pairs of twins and one set of triplet girls landed in a row. I was about to see The Triplets of Belleville to celebrate the coincidence, but then this flick turned

  • El Biffo's rating of the film Sisters

    I'm trying to develop an appreciation for DePalma, really I am. I like a couple of his films, even tho they're pretty cheezy. But this is a 70's slasher film with bloody butcher's knives. And the Bernard Hermann "crazy music" is quite cheezy, too. An extra star for a creative ending tho.

  • Ghostman's rating of the film Sisters

    An incredible thriller & De Palma's first riff on the proverbial 'Hitchcock film'. It's an incredibly skillful movie; made all the more impressive considering De Palma made it on a small budget and it doesn't show. Psychologically rich and complete with a feminist and anti-patriarchal message, Sisters is one of De Palma's first great films. And that ending...

  • Jason's rating of the film Sisters

    I think of GREETINGS and HI, MOM! as falling-apart crazy-glued anarchist masterpieces and SISTERS as a transitional work that gives away a great deal about the secret congruence of De Palma's two phases. As Hitchcock becomes important, naturally form also becomes important. When form becomes important, De Palma becomes a new intelligence. A slightly different form of ruthlessness, but he's still basically naughty.

  • Nicholas Gregory's rating of the film Sisters

    Being part of the post-modern movement allowed De Palma to mix Hitchcock's best trademark's (bets-off suspense/dark humor/narrative and emotional hook/intriguing-but-flawed characters) to odd proportions. Both understood that once they have your emotions with these elements, they can take their plot off-the-rails. De Palma isn't as narrowly-focused and conservative as Hitch, uniquely suiting the material.

  • Harry Rossi's rating of the film Sisters

    My second De Palma experience and I must say I'm even more impressed than I was before. An incredibly well put together, cinematically fascinating satirical thriller. I have to say I enjoyed this more than Dressed to Kill. The story was very engaging, the humor was well placed and style was awesome.

  • Pierluigi Puccini's rating of the film Sisters

    With the valuable support of Bernard Herrmann in a terrifying score and Paul Hirsch superb editing, De Palma accurately exploits Hitchcockian themes for the first time, and even creates his most dazzling split-screen scene ever.

  • Stefan Drees's rating of the film Sisters

    Surprisingly good. The black and white insert near the end is stunning, like the split screen sequences after the murder. And Bernard Herrmann's score is to some extend very fierce and intense.

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