Absolutely the worst movie.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Blood Sisters is a jarring who-what-why dunnit that's very much of its time. Whether it works for contemporary audiences ... well, I'm not so sure.The film starts by introducing Margot Kidder as a French Canadian actress/model and 'star' of a dubious TV game show built around voyeurism. As opening's go, it has its own flavour of disturbing, but it does cleverly mirror exactly the theme of the movie in a less than a minute: if you were witness to something private, would you do 'the right thing'?After an interesting premise, there's a slow and laboured build-up to a one-night stand, a menacing ex-husband, a secret twin and an inevitable - and very schlocky - murder. For me, the movie only briefly comes to life in the middle, where we have local beat reporter Jennifer Salt (the only halfway believable presence in the movie) witnessing the crime from across the street. When the police refuse to take her seriously, she sets out to investigate on her own, sometimes accompanied by her hilariously critical mother.Blood Sisters does its 'moments' well - there's intermittent tension, gore, black comedy and frustration, but otherwise it seems to lope along fairly immaturely. My biggest gripe - purely as a modern viewer - is in the film's extremely outdated ideas about mental health and disability. It's not so much about 'investigating' anything as going straight for the shock factor.I could forgive that if there were was something more endearing about this movie. I did like the overall feel and mood of the movie, down to the jerky editing and its rather obvious plot twists, but the acting is too hammy to be anything other than distracting. The ending is a masterpiece of short-change: not so much who-dunnit as huh-dunnit ... Yep, it left me stumped.I'd probably watch this movie again but not because it's good. It's an underwhelming 5/10 for me.

Sometimes a TV channel can surprise you . There I was watching THE INVADERS on the UK Horror Channel wondering what graphic and mediocre movie the channel was going to throw up at us as it normally does on a 9pm weeknight . Flicking through the info button I caught the synopsis and instantly thought I was going to be something along the lines if BASKET CASE a film that despite having a cult following I wasn't mad keen on . So doing what every other puzzled film fan does I came on to this site to catch a bit more info and was slightly surprised to see it had an average user rating of 7.0 which is quite high for something being broadcast on The Horror Channel . I then glanced at the credits and was shocked to discover it's an early effort from Brian De Palma ! Hold the front page because " De Palma directs a film that is being broadcast on The UK Horror Channel " is definite headline news and let's not forget that from CARRIE to CARLITO'S WAY he was one of Hollywood's leading film makers . This alone makes this rather obscure and early work from the director worth seeking out De Palma is something of an acquired taste and he does sometimes come in for heavy criticism such as " one trick pony " and " Hitchcock plagiarist " and to be blunt you could make the exact criticism about BLOOD SISTERS . This was made during The New Hollywood period when film making movie brats discovered post modernism and obviously De Palma has seen REAR WINDOW . The main plot involves a person witnessing a murder from the window of a facing apartment , calling the police and the police finding no evidence , but to say it's a rip off of a 1950s Hitchcock classic is to do it a disservice . The story is very much updated to the 1970s since the witness is now a career woman who works as a journalist which is something very few women would have had in the way of a career20 years earlier . The heroine is a lot more proactive than what Jeff was in REAR WINDOW and I felt the major problem in that film was that it too static for its own good . There's also an air of weary 70s cynicism where the police are useless are to be blunt total " pigs " . Since the Hays Code had been nullified a few years previously the film contains much more graphic violence than you'd have seen in a 1950s movie One thing Hitchcock described about his movies was " The ice-box effect " By this he meant when you watched one of his movies you went to the ice box to grab yourself a beer then - bang . You stop to think about the plotting and everything collapses and we see the same thing here . Someone gets stabbed to death and within the ten minutes of it being witnessed and the police arriving it's possible to get blood stains out of the carpet etc . The story suffers these unlikely implausible aspects and relies a little bit too much on coincidence and bad luck to drive the story forward . Bernard Herrman's score is very intrusive and again reminds you of his work for Hitchcock . You also tend to notice De Palma's style that he uses in nearly all his movies so despite it being an example of his early work there's a feeling of seen it all before . That said it is a highly involving tense thriller and I did enjoy this more than the film that inspired it so thanks to The Horror Channel for broadcasting it and I look forward to seeing more obscure works by Hollywood auteurs turning up

Ambitious Staten Island reporter Grace Collier (Jennifer Salt) witnesses actress/model Danielle Breton (Margot Kidder) committing a brutal murder in the apartment building opposite, but struggles to convince the police that what she saw actually happened.If you''re going to imitate the work of any one director, you could do a lot worse than choose the master of suspense, Alfred Hitchcock—which is precisely what Brian De Palma did for his breakthrough thriller Sisters, an entertaining 'homage' to both Psycho and Rear Window with a little bit of early-70s psychedelia thrown in for good measure.The movie's plot, character development, and cinematography all reek of Hitchcock, and the Bernard Herrman score only adds to the effect. In fact, it would be easy to accuse De Palma of having very few ideas of his own—if it wasn't for the film's bonkers final act, which is far freakier than anything that Alfred ever came up with. Danielle's demented history is told in a warped, hallucinatory flashback that is so bizarre and unique that one can easily forgive De Palma for the film's less original elements.6.5 out of 10, rounded up to 7 for Margot Kidder's irresistible French accent—a psycho has never sounded sexier.

The Staten Island apartment of lovely model Danielle (Margot Kidder) becomes the scene of a grisly murder that is witnessed by her neighbor, Grace (Jennifer Salt), a reporter. But the police do not believe her story, so it is up to Grace to solve the murder mystery on her own.Largely influenced by the films of Alfred Hitchcock, and composed by Hitchcock's composer Bernard Herrmann, this film has a good degree of Hitch's "Rear Window" with just a dash of giallo mixed in.De Palma trademarks show up -- plenty of split screen, and a plot revolving around voyeurism. And the stars are De Palma's college friends. I think Margot Kidder's big break came through this film (she did a few things before, but nothing that jumps out at me).