Dir: Jason Moore, 2015
No, this is nothing to do with the Brian De Palm film or its remake but if there was ever any proof that women can be funny, then this is it.
Former Saturday Night Live stars Tina Fey and Amy Poehler are a great double act.
Fey is both hilarious and sexy, Poehler is both hilarious and dotty.
They can each hold their own in the world of comedy.
Fey and Poehler are sisters, but Kate (Fey) is irresponsible and slutty with a teenage daughter who doesn’t want to be around her mum. Maura (Poehler) is dull and serious. Chalk and cheese but best friends.
Their parents (Dianne Weist and James Brolin) have decided to sell the house that they both grew up in.
Horrified, the sisters decide to hold one last party.
The plot is slight. It’s been done a hundred times before but Fey and Poehler are such likeable people and portray fun characters, that it feels fresh.
Saturday Night Live isn’t broadcast in Britain and never has been, aside from the odd episode in the early hours of the morning.
We only really know of it through the casts’ films, such as the Eddie Murphy vehicles, 48 Hrs. and Beverly Hills Cop through to the Dan Aykroyd smash hits, The Blues Brothers and Ghostbusters.
So, it’s not surprising that Tina Fey and Amy Poehler don’t have the recognition, here, that they do in the States.
It’s a culture thing.
However, after the release of Baby Mama, the pair are now beginning to come to prominence and with Fey’s hit show, 30 Rock, being broadcast on UK television, she has started to make a name for herself.
Hopefully, this should help them breakthrough to British audiences.
There’s always been a debate about whether women are funny. Well, the answer is yes, they are.
But, everything depends on the type of comedy and this goes for men as well.
Comedy has changed. What used to be gender based and appealed more to one sex than the other, is seldom seen. It was a nineties thing.
In Britain, we had female comics such as Jo Brand and Jenny Eclair whose style of comedy was aimed towards women and men.
Their repertoire consisted of stereotyping men. They talked about sex and openly discussed their vaginas and periods.
Intent on doing what men do, everything was fair game.
Wet patches, spunk, masturbation, foul language; if the guys can do it, so can the girls.
Tina Fey and Amy Poehler aren’t stand up comedians, but they are still comics and very worthy of the title.
Films like this were considered “chick flicks”, films primarily targeted toward women.
But Fey and Poehler completely destroyed that notion.
This type of humour is neutral. There is something in here for anybody. It’s crass, crude, vulgar, hilarious.
The writer, Paula Pell, brilliantly weaved coarseness with femininity. A talent few people can do.
At two hours, though, the film is a tad too long. There were places where I looked at my watch. Bringing the runtime down to a more manageable ninety or so minutes would have helped a lot.
You have to be careful with this type of comedy. It can quickly become tiresome or outstay its welcome.
Sisters doesn’t become tiresome but you do wish it finished a little sooner.
There are a few jokes that shouldn’t have made it into the film, or even gotten past the script stage.
Fellow SNL member Bobby Moynihan is here as an annoying guest who thinks he’s funny but is really irritating. Just like real life, then.
Featuring concurrently through the film, removing this character would have tightened the film and ensured a more successful hit rate of jokes.
Confusingly, there are several subplots and jokes that don’t really go anywhere or add anything of value to the movie. A gag involving cocaine springs to mind.
A secondary plot involves Kate’s daughter who went missing for a while and eventually turns up.
I get what the Pell and Moore were trying to do but, seriously, the daughter just comes across as a whining little brat.
Apart from the negatives I’ve stated, Sisters is a funny film. It’s worth your time. When you’ve been at work or had a stressful day, put it on and relax. It’s a good tension reliever.