Based on the best-selling novel by Ann Brashares the story centers on four best friends--Lena (Alexis Bledel) Tibby (Amber Tamblyn) Bridget (Blake Lively) and Carmen (America Ferrera)--who realize that they are about to spend their first summer away from each other. On one last shopping spree they find a pair of jeans that fits all of them odd considering their different body shapes. It must mean the pants are magical and will bring them good luck. So the girls make a pack that each of them will spend one week with the pants and then send them off to the next girl. Lena the shy self-conscious artist who is spending the summer in Greece with her grandparents takes the pants first--and meets the hunky Kostas (Michael Rady). Tibby a rebel "suckumentary" filmmaker who marches to the beat of her own drum gets them next. But as tough as Tibby thinks she is she learns some invaluable life lessons through her chance encounter with an extraordinary girl Bailey (Jenna Boyd). Then it's Bridget's turn a vivacious blonde who spends her summer playing soccer in Mexico and displays some reckless behavior with a hands-off camp coach (Mike Vogel). Finally there's Carmen a spit-fire writer who decides to spend some quality time with her wayward dad. Yet upon arrival she is greeted with a not-so-pleasant surprise when her father (Bradley Whitford) introduces her to his very white-bred fiancé (Nancy Travis) and her two teenage children. These four realize in the end whatever magic there is comes from their enduring friendship.
The ensemble cast of fresh faces makes Sisterhood entirely watchable. Tamblyn of TV's Joan of Arcadia's gives the strongest performance as Tibby. The talented actress really digs in executing perfectly Tibby's tough-on-the-outside-but-a-real-softie-underneath persona. Ferrera best known for her stellar performance in the indie hit Real Women Have Curves is another standout as Carmen a girl who wears her heart on her sleeve especially when she finally confronts her dad about never being there for her. Boyd (The Missing) too is quite affecting as Tibby's new rather outspoken friend harboring a tragic secret of her own.. Newcomer Lively does an adequate job playing Bridget who we think is pretty blonde and carefree but who has really been left with a void after the death of her mother. Had she put in a little more effort though she could have been the star of the show. Only Bledel fails to inspire. Watching her is just like an extended episode of her TV show Gilmore Girls both boring and lackluster. She doesn't seem to stretch herself in any way.
This is every teenage girls story being with the best of friends but also being "afraid of time and not having enough of it." At least this is what author Ann Brashares wanted to convey when she wrote the critically acclaimed hugely popular book. TV director Ken Kwapis understands this; Sisterhood bleeds heart and soul. While the pacing seems to drag a bit and the maudlin factor heighten in parts the movie nonetheless mixes the right amount of comedy tragedy and the difficulties of being 16 on the cusp of adulthood. Sisterhood is also beautifully shot especially the scenes in Greece. Kwapis shows the beauty and history of this magnificent country in a way that makes you want to grab your passport and take a trip there. But being that the movie is already a tad slow even the many picturesque Greek moments seem unnecessary. Sisterhood could have shaved a good half hour to make it a more concise movie.
Completely stripping Catwoman of her "Batman" connections the geniuses behind this comic-book movie--at least as bad as Spider-Man 2 is good--also stripped it of any pleasure. Neither campy a la Julie Newmar and Eartha Kitt of the old TV series nor sexy vamp like Michelle Pfeiffer of Batman Returns Halle Berry's Catwoman is well one lost little kitty in the big city. Actually she's Patience Philips--an annoyingly mousy graphics designer for a top cosmetics firm who despite her job has no fashion sensibility no self-confidence and no boyfriend. (Yeah riiiight!) She is befriended by a mystical Egyptian Mau cat which--courtesy of lousy digital effects--often looks disturbingly like Toonces and sounds like Linda Blair in The Exorcist when it meows; moreover its way of befriending Patience is to lure her into a suicide attempt--one of many plot points lacking a rationale. When Patience discovers that the cosmetics firm's villainous owner (Lambert Wilson) and aging supermodel wife (Sharon Stone) are marketing a toxic disfiguring facial cream she is killed--flushed through a drainage system into the ocean. But here comes that darn cat again to revive her as she's lying in sludge and mud. Next thing she knows she's sleeping on her apartment's bookshelf eating tuna by the caseload looking longingly at Jaguar hood ornaments as if they're long-lost relatives and jumping about walls basketball courts and whatnot faster than a speeding bullet. She also takes to wearing a pointy-eared black-leather dominatrix outfit along with too much makeup but at least no whiskers. She also starts sniffing around that foul cosmetics firm which leads to a martial-arts showdown with Stone. What the Oscar-winning Berry doesn't do regrettably is get a CAT scan to see what kind of ailment convinced her to make this lamebrain movie.
I've seen better acting on 7-Eleven surveillance videos than in Catwoman. Berry is cloying in the film's early stages when she's playing insecure lonely Patience and she's more pathetically childlike than anything else. Once she's Catwoman though she's really terrible tilting her head for endless close-ups and giving lots of wide-eyed stares meant to conjure feline curiosity but that more recall George W. Bush's "deer-in-the-headlights" gaze. The screenplay makes a few lame attempts to observe the duality of women in the way Patience changes to Catwoman but it's not there in the performance. Yet Berry's turn is a career-peak gem compared to Stone who can't decide whether to play the power-mad Laurel Hedare as a broad cartoonish send-up or as someone connected to reality. Looking like a vampiric Susan Powter and barking sarcastic lines without a hint of emotional connection to her character Stone is just awful. On the plot's fringes Benjamin Bratt does his best as a police officer (gee what else) who is both infatuated with Berry and suspects her of murder.
The one-named French director Pitof (short for "pitoful"?) supposedly is a digital-imaging expert who has worked with City of Lost Children's Jean-Pierre Jeunet but you'd never know it here. Either he doesn't know much about directing actors or maybe he only gives directions in French. The effects--especially action scenes involving a digitalized version of Berry--move at such a chaotic breakneck pace that she looks completely phony. Plus there's absolutely no sequential logic whatsoever to where Catwoman moves and when--apparently invisibility is one of her superpowers. These awkward clumsy scenes are usually accompanied by distractingly loud music. Pitof's only other directing credit is some obscure French flick starring Gerard Depardieu…one hopes Catwoman will be his last.