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The Sister feels like the old British horror series from the 1970s -- moody lighting, mysteriously misty laneways -- but the first-rate acting keeps things from getting too cheesy.
It was what I call "arrows on a whiteboard" drama: good on connecting the gear changes of its plot and invented lives, less good on evoking flesh-and-blood people you could imagine meeting in real life.
This was not pacey. It was sloooooow, beset as it was by those interminable flashbacks. Unsurprisingly, there were many outrageous implausibilities.
For so long a reliable ensemble player, Tovey gets an overdue lead here and proved well up to the task as a solemn, anguished everyman.
A large part of this success must be laid at Tovey's feet. His Everyman, suffering as an essentially good person trapped in a worsening hell not of his own making, is absolutely agonising.
The Sister was car-crash drama: horrible to look at, but you couldn't turn away.
This was a decent 90-minute Halloweeny twister crammed into a mere entire week.
The most disturbing thing about The Sister was the way it dragged on for four evenings when the story merited an hour at best.
Neil Cross's novel Burial was hailed for its skilful plotting and insightful characterisations, as well as its macabre atmosphere. Disappointingly, the author's own adaptation of the book looks clumsy and uncomfortable on TV.
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