joey-ziemniak
Joined Aug 2013
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joey-ziemniak's rating
Sisters is outrageously funny, so it passes with flying colors as a raunchy comedy. But it's deeper than you might expect on a character level. Everyone's favorite duo Tina Fey and Amy Poehler are instantly believable as sisters Kate and Maura, and in addition to their witty banter and excellent chemistry, they're also well-developed female characters. This deep characterization elevates Sisters above traditional comedic fare, and the result is a funny and touching year-ender in a great year for comedy.
When Kate and Maura reunite as a result of their parents' desire to put their childhood home on the market, it sets the stage for zany hijinks to come. The premise of the film can be written in less than one line, but the party material here is very funny. It all works thematically as well, as the retirement of a family home works at bringing everyone together. Kate and Maura clean out their rooms in a brilliant scene that gets at the bond between sisters, and it also highlights the differences between the two girls.
Kate, stuck in a rut and no more mature than her daughter, had the reputation as the party animal back in the day. Maura, on the other hand, was party mom and now wants to "let her freak flag fly." It works because not only is it the opposite of what we might expect of Fey and Poehler, it allows the pair to bring out the best in each other. I'm reminded of another buddy comedy, 21 Jump Street, in which the conventional archetypes are nothing new, but the shades of the characters bring the real depth. Consistent characterization through and through allows the pair to step out of their comfort zone to great results.
When Sisters is funny, it soars. Not every joke lands, but there's a consistent stretch in the middle sixty minutes that you'll never want to end. The film gets at adulthood in hard-hitting but also hilarious ways, such as the beginning of the party when the guests sit around and discuss colonoscopies and their children. When the film goes full Project X, it also works, as the supporting characters bring the party that surrounds Kate and Maura. Bobby Moynihan is a highlight as the class clown Alex, whose groan worthy puns become something more when he snorts cocaine and hooks up with Kate's pedicurist (yes, that was a real sentence I just wrote). Maura's new crush James (Ike Barinholtz), also brings the laughs. Barinholtz hasn't had a proper role like this since The Mindy Project, and he brings out Maura's dirty side to hilarious results.
Poehler and Fey are as reliable as ever, and their commitment to these characters reminds us why we fell in love with them in their days on SNL and their respective NBC comedies. The role reversals are well done and no one sister dominates the limelight. The two are a pair through and through, and are believable as sisters but also as best friends. While no one here is going to win an acting award anytime soon for Sisters, they sell the familial bond and subsequently nail the emotional scenes. I could see this one being an underrated favorite in years to come (akin to Baby Mama). Director Jason Moore and screenwriter Paula Pell have made another great addition to the party genre, but also a female-driven comedy that never forgets to flesh out its characters.
When Kate and Maura reunite as a result of their parents' desire to put their childhood home on the market, it sets the stage for zany hijinks to come. The premise of the film can be written in less than one line, but the party material here is very funny. It all works thematically as well, as the retirement of a family home works at bringing everyone together. Kate and Maura clean out their rooms in a brilliant scene that gets at the bond between sisters, and it also highlights the differences between the two girls.
Kate, stuck in a rut and no more mature than her daughter, had the reputation as the party animal back in the day. Maura, on the other hand, was party mom and now wants to "let her freak flag fly." It works because not only is it the opposite of what we might expect of Fey and Poehler, it allows the pair to bring out the best in each other. I'm reminded of another buddy comedy, 21 Jump Street, in which the conventional archetypes are nothing new, but the shades of the characters bring the real depth. Consistent characterization through and through allows the pair to step out of their comfort zone to great results.
When Sisters is funny, it soars. Not every joke lands, but there's a consistent stretch in the middle sixty minutes that you'll never want to end. The film gets at adulthood in hard-hitting but also hilarious ways, such as the beginning of the party when the guests sit around and discuss colonoscopies and their children. When the film goes full Project X, it also works, as the supporting characters bring the party that surrounds Kate and Maura. Bobby Moynihan is a highlight as the class clown Alex, whose groan worthy puns become something more when he snorts cocaine and hooks up with Kate's pedicurist (yes, that was a real sentence I just wrote). Maura's new crush James (Ike Barinholtz), also brings the laughs. Barinholtz hasn't had a proper role like this since The Mindy Project, and he brings out Maura's dirty side to hilarious results.
Poehler and Fey are as reliable as ever, and their commitment to these characters reminds us why we fell in love with them in their days on SNL and their respective NBC comedies. The role reversals are well done and no one sister dominates the limelight. The two are a pair through and through, and are believable as sisters but also as best friends. While no one here is going to win an acting award anytime soon for Sisters, they sell the familial bond and subsequently nail the emotional scenes. I could see this one being an underrated favorite in years to come (akin to Baby Mama). Director Jason Moore and screenwriter Paula Pell have made another great addition to the party genre, but also a female-driven comedy that never forgets to flesh out its characters.
Suffragette packs a punch. It's a soldiering tribute to the women who fought for the right to vote and paved the way for the feminist movement in the UK. While the script might be a little too biopic friendly, it's still a rousing film full of outstanding performances. Director Sarah Gavron wisely frames the conflict through the eyes of Maud (Carey Mulligan), and she keeps the drama at an intimate level, all while hinting at the larger scope of the movement nationwide.
Instead of going big, Suffragette puts us in the shoes of Maud Watts, an outsider to the movement, who works as a launderer. What I really liked about the film is that you hear murmurs about this group led by the charismatic Emmeline Pankhurst (Meryl Streep) and their activities throughout the first half of the film. They are sort of portrayed as a small-scale movement that won't cause much damage, but when Maud decides to get involved and get active, we see firsthand how powerful the group is. Obviously with a film like this many know the story already, yet Gavron and writer Abi Morgan literally put you in Maud's shoes as she gets deeper into the action, with protests and bombings aplenty.
Carey Mulligan is a revelation as Maud. Her best performance since An Education, Mulligan is pitch perfect for the role. She's such a natural actor that practically everything she feels, you feel alongside her. Gavron favors close-ups of the women in these harsh work conditions, and it works at getting underneath their skin and bringing the raw emotion to life. Other suffragettes Edith Ellyn (Helena Bonham Carter), Violet (Anne-Marie Duff), and Emily (Natalie Press) make quite an impact too. It isn't exactly an ensemble cast - Mulligan carries most of the film's weight - but it's nice having supporting characters that make a lot of background noise and are actually memorable characters rather than props. Unfortunately Meryl Streep doesn't have that same luxury. Her character is portrayed as a god-like being, and while this might have been true for the suffragettes, she is only present in the film for less than five minutes and doesn't make a lasting impression on the audience.
The script is marvelous at bringing to life early 20th century London, and the production design is gorgeous. The murky city breathes deep, as the dark alleys where these women plot their attacks is paralleled with the brighter scenes of the lawmakers in Parliament. The film on the whole has a feeling of a pot on a burner, ready to boil over any minute. It's a testament to the writing and direction that can convey a sense of natural urgency driven by history. Additionally a beautiful score from Alexandre Desplat (my favorite composer) accompanies the action and keeps the lows low and the highs high.
The brilliant script works at showing how Maud and the activists practiced civil disobedience and "unladylike" tactics while facing oppression from both home and the government. It does grow a bit tiresome towards the end, however, and the finale doesn't quite have the impact that it might have expected. There are many moments that could be considered climactic, and the one chosen is brilliant, but the falling action leads to a poor final few minutes. Of course it ends with typical true story text and a list of countries when women gained the right to vote (which is genius), but the ending could've been a little more out-of-the-box than what we got. Another coat of polish could've elevated Suffragette from a striking biopic to something in a league of its own. Regardless, Suffragette falls under the category of "essential viewing," and it manages to be both entertaining and important. Nailing that balance for films like this is key, and Suffragette brings a wallop.
Instead of going big, Suffragette puts us in the shoes of Maud Watts, an outsider to the movement, who works as a launderer. What I really liked about the film is that you hear murmurs about this group led by the charismatic Emmeline Pankhurst (Meryl Streep) and their activities throughout the first half of the film. They are sort of portrayed as a small-scale movement that won't cause much damage, but when Maud decides to get involved and get active, we see firsthand how powerful the group is. Obviously with a film like this many know the story already, yet Gavron and writer Abi Morgan literally put you in Maud's shoes as she gets deeper into the action, with protests and bombings aplenty.
Carey Mulligan is a revelation as Maud. Her best performance since An Education, Mulligan is pitch perfect for the role. She's such a natural actor that practically everything she feels, you feel alongside her. Gavron favors close-ups of the women in these harsh work conditions, and it works at getting underneath their skin and bringing the raw emotion to life. Other suffragettes Edith Ellyn (Helena Bonham Carter), Violet (Anne-Marie Duff), and Emily (Natalie Press) make quite an impact too. It isn't exactly an ensemble cast - Mulligan carries most of the film's weight - but it's nice having supporting characters that make a lot of background noise and are actually memorable characters rather than props. Unfortunately Meryl Streep doesn't have that same luxury. Her character is portrayed as a god-like being, and while this might have been true for the suffragettes, she is only present in the film for less than five minutes and doesn't make a lasting impression on the audience.
The script is marvelous at bringing to life early 20th century London, and the production design is gorgeous. The murky city breathes deep, as the dark alleys where these women plot their attacks is paralleled with the brighter scenes of the lawmakers in Parliament. The film on the whole has a feeling of a pot on a burner, ready to boil over any minute. It's a testament to the writing and direction that can convey a sense of natural urgency driven by history. Additionally a beautiful score from Alexandre Desplat (my favorite composer) accompanies the action and keeps the lows low and the highs high.
The brilliant script works at showing how Maud and the activists practiced civil disobedience and "unladylike" tactics while facing oppression from both home and the government. It does grow a bit tiresome towards the end, however, and the finale doesn't quite have the impact that it might have expected. There are many moments that could be considered climactic, and the one chosen is brilliant, but the falling action leads to a poor final few minutes. Of course it ends with typical true story text and a list of countries when women gained the right to vote (which is genius), but the ending could've been a little more out-of-the-box than what we got. Another coat of polish could've elevated Suffragette from a striking biopic to something in a league of its own. Regardless, Suffragette falls under the category of "essential viewing," and it manages to be both entertaining and important. Nailing that balance for films like this is key, and Suffragette brings a wallop.