When Tina Fey and Amy Poehler lose control together, it’s like that party that was sooo fun but the next day you can’t really explain why. So it is no wonder they wanted to make a movie in which they play sisters.
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In “Sisters”, Tina Fey and Amy Poehler attempt to bring the most teenage of comedy genres _ that of keg stands and drunken hook-ups _ into middle age. At least I am sure that is the way it looked on paper.
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It has been an off year for comedies with only “Spy” standing out as a memorable film. Poehler is heartfelt and realistic as overly caring and concerned nurse Maura, while Fey performs a sloppily conceived caricature of trainwreck cougar party girl/single mom, Kate. Both are immature and not particularly likable.
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As little as they have in common, the Ellis sisters are bonded by their shared history and childhood bedroom -which is why it’s such an emotional blow when their parents (Wiest and James Brolin) announce they’re selling the family home and downsizing to a condo. The hosts of this party-pretending-to-be-a-movie are Tina Fey and Amy Poehler, Saturday Night Live veterans and occasional awards-show emcees.
Of course, the filmmakers are aiming for a specific audience-easy-to-please filmgoers, Fey and Poehler fans and older millennials, younger Gen X-ers and those hungering for “SNL” at its wilder moments. (You can see the cast reading from one of Pell’s journals in a featurette over at Time.) Even if you don’t know her by name, Pell has probably made you laugh at some point. It is a self indulgent display of star power that will not do either of their professional reputations any good.
Sure, you’re going to see “Star Wars: The Force Awakens” this weekend, we all are, but sometime in the week, do yourself a favor, avoid the crowds and check out “Sisters”, but leave the kids at home. This is their Z game. The movie just isn’t worthy of all the talent involved. There are a few bright spots here and there, but not a lot. As far as the rowdy, raucous party goes; careless destruction like this is sometimes understandable when it involves irresponsible teens, but these women are portraying adults. Ike Barinholtz is Poehler’s handyman love interest and he and Poehler keep it real, or real-esque, at least until the next bout of clumsily staged slapstick. The film never pushes the boundaries of what it means to be R-rated, but that extra level of completely crass humor and added oomph that comes with each scalding usage of f*ck really helps the film reach the potential that it really needed to reach. The same is true for John Cena; you expect some fun and get zip. But not quite as amusing as you’d like it to be, and rather longer than it should be.
There are bound to be comparisons to Kristin Wiig’s “Bridesmaids” but there shouldn’t be.
More significantly, though, the short offers a potent reminder that for all their sitcom and movie successes, Fey and Poehler are late night comedy parodists at heart.
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Mining her diaries from her Floridian youth, Paula Pell’s hysterical script is primarily concerned with generating big laughs out of its main party set piece, and to that end she succeeds in spades.
