70
Metascore
16 reviews · Provided by Metacritic.com
- 91The Film StageTony HindsThe Film StageTony HindsBrian De Palma‘s shocking exploitation gut-punch, Sisters, is a perfectly orchestrated exercise in style, a staging of some of the finest suspense sequences since Alfred Hitchcock was above ground.
- 88Slant MagazineEric HendersonSlant MagazineEric HendersonThough Sisters is an undeniably tight homage to Hitchcock from an obviously indebted De Palma, I am still inclined to place it at least a tier below the likes of Dressed to Kill and Body Double.
- 83The A.V. ClubKeith PhippsThe A.V. ClubKeith PhippsAs a filmmaker most often comfortable working within a genre, De Palma also knows how to deliver thrills, a skill he displays with remarkable regularity in Sisters, which still looks like one of his best.
- 83The PlaylistKevin JagernauthThe PlaylistKevin JagernauthSisters never carries any feeling that De Palma is showing off or flexing his cinematic chops because he can, or is above the material. The film is utterly transfixing because it plays its schlock straight, and paired with Hermann’s hair-raising throwback score, the effect is giddy.
- 83Portland OregonianMarc MohanPortland OregonianMarc MohanKidder's performance as Danielle is a highlight, creating a childlike woman who is beguilingly naive yet obviously fraught with peril. [22 Sep 2000]
- 80The New York TimesVincent CanbyThe New York TimesVincent CanbyA good, substantial horror film with such a sense of humor that it never can quite achieve the solemnly repellent peaks of Roman Polanski's "Repulsion."
- 75Chicago Sun-TimesRoger EbertChicago Sun-TimesRoger EbertBrian De Palma’s Sisters was made more or less consciously as an homage to Alfred Hitchcock, but it has a life of its own and it’s a neat little mystery picture.
- What elevates Sisters above a standard Hitchcock rip-off, and makes it authentically De Palma, is its typically unsubtle and scathing social critique.
- 60CineVueJohn BleasdaleCineVueJohn BleasdaleAn effective thriller, Sisters is an intense tightly executed slasher, which fans of the directors later work will revel in.
- 50Time OutTime OutIn retrospect, it does indeed appear as a highly efficient gut-ripper, with far more suggestion than De Palma's later work of the loose-end flux of real life going on in the background. There is, however, much early evidence of his rampant misogyny, his increasingly blatant stealings from Hitchcock, and most unforgivable of all, his clear distaste for the people he creates.