» » Младшая сестра (2016)

Младшая сестра (2016) Online

Младшая сестра (2016) Online
Original Title :
Little Sister
Genre :
Movie / Comedy / Drama
Year :
Directror :
Zach Clark
Cast :
Addison Timlin,Ally Sheedy,Keith Poulson
Writer :
Zach Clark,Zach Clark
Type :
Time :
1h 31min
Rating :

Young nun Colleen is avoiding all contact from her family, returning to her childhood home in Asheville NC, she finds her old room exactly how she left it: painted black and covered in goth/metal posters.

Младшая сестра (2016) Online

Young nun Colleen is avoiding all contact from her family, returning to her childhood home in Asheville NC, she finds her old room exactly how she left it: painted black and covered in goth/metal posters.
Cast overview, first billed only:
Addison Timlin Addison Timlin - Colleen Lunsford
Ally Sheedy Ally Sheedy - Joani Lunsford
Keith Poulson Keith Poulson - Jacob Lunsford
Peter Hedges Peter Hedges - Bill Lunsford
Barbara Crampton Barbara Crampton - The Reverend Mother
Kristin Slaysman Kristin Slaysman - Tricia
Molly Plunk Molly Plunk - Emily
Alex Karpovsky Alex Karpovsky - Deli Guy
Rhonda Hansome Rhonda Hansome - Homeless Woman
Amber Williams Amber Williams - Debbie
Gene Santarelli Gene Santarelli - Shut-In
Joan Shangold Joan Shangold - Sister Abigail
Sandra Vaughn-Cooke Sandra Vaughn-Cooke - Sister Isadora
Sunita Mani Sunita Mani - Performance Art Dancers
Tallie Medel Tallie Medel - Performance Art Dancers

Early in the movie, a nun answers the phone at Colleen's convent identifying them as the Sisters of Mercy order. The Sisters of Mercy is also the name of a prominent post-punk band from the 80s who were and continue to be popular in the goth subculture.

Voted as Best Film of 2016 by Richard Brody, film critic at 'The New Yorker'.

Barbara Crampton is married to a Chinese man Matthew See.

User reviews



Roger Ebert had a great line describing the feel of this movie. After quoting a piece of wacky dialogue (talking about lesbian Satanism), Ebert said: "It's a powerful indication of just how well Little Sister works that the above exchange does not come off as 'quirky,' or 'kooky,' or a 'black comedy' ba-dumb-ching punchline."

That's what I mean in the title of this review. Although you'd think the story is poised to be a thick satire, it's not. And that's what makes it unique and effective. I mean with a plot about an ex-goth girl becoming a nun whilst reconnecting with her brother who came back from the war in Iraq and her stoner parents in a small town in North Carolina, you'd think this could be every bit as cheeky as Edward Scissorhands without the scissors. But instead, director Zach Clark chose to play it straight.

The result is a film that might not be as laugh-out-loud funny or bizarre as it could be, but in its place we get a serious message that we can apply to our lives. I won't tell you what that message is, but if you watch the movie then pay attention to Ally Sheedy's (the mom) monologue near the end which ties everything together and drives the point home.

Gosh well I just made this movie sound as dry as a nun's gusset. But no, it's actually interesting and had a few moments of classic humor. One such moment happens when the girl, all gothed up, and her brother, disfigured from the war, are walking in the woods when they come up on a young kid who stares at them and asks "are you monsters?" Awkward silence is followed by the brother shrugging and saying matter-of-factly, "yeah."

It's this sort of subtle humor with serious meaning that carries the film all the way through. So, as Roger Ebert said, don't expect a lot of zingers because this movie is pretty subtle.

Something worth mentioning is the odd soundtrack composed of a lot of drum solos and 80s alt-metal/punk bands like GWAR ("Have You Seen Me"), Christian Death ("Romeo's Distress") and Kitchen & the Plastic Spoons ("Happy Funeral"). The use of obscure cult classics reminded me of the films "Pump Up the Volume" and "Empire Records", two other great films that have a similar vibe to Little Sister, that is, a wacky plot but played mostly on a serious level to keep things real.

Acting is excellent all around with a notable performance by Ally Sheedy who plays a dysfunctional mom who could easily be the grown up version of her iconic character in "The Breakfast Club" (1985). Cinematography is interesting, beginning with conservative shots & reality (hand held camera), but as the plot gets weirder so does the camera, bringing us to a bizarre Halloween climax that could've easily been shot by Tim Burton. Little Sister is totally worth the price of admission and I'll probably be watching it a 2nd time. So I guess you could say this nun flick is habit forming. (How's that for a ba-dumb-ching)


Set in 2008, this indie is more of a relationship drama than a comedy, and is filled with lots of imperfect characters. It's a quiet movie where for the most part the characters come off as real persons. However, in my opinion, not everything works here and, at times, the movie seems to veer off into places it didn't need to go to be effective.

Addison Timlin is terrific in the lead role of Colleen, who's a nun novitiate in a Brooklyn convent. She's temporarily traveling home to Asheville, N.C., after a 3 year absence, at the request of her mother Joani (Ally Sheedy). Sheedy plays up to the hilt her role of the disturbed and drug taking mom.

The principal reason for Colleen's return home is to emotionally support her brother Jacob, most ably portrayed by Keith Poulson, who has been severely disfigured by a bomb blast while serving as a Marine in the war. Now, Jacob is extremely isolative and depressed and is suffering both physically and mentally. Thus, the remainder of the film will center on Colleen's attempts to help her brother, remembrances of her goth past, as well as trying to interact and cope with the remainder of her dysfunctional family,

All in all, this indie, written and directed, by Zach Clark, certainly has its moments, but I felt, as mentioned, it was too overloaded with on screen drug use and at times veered "off the tracks". Therefore, I would say despite its uplifting ending this was a mixed bag for me.


Great movie! A young nun (Addison Timlin) comes home after years of avoiding contact and tries to reconnect with her family. The simple plot is justified by the most relatable thing for any human which is how to spend your life.

I am an atheist, but grew up a Christian and will always love the great morals an values that come with the religion. I often wish I could believe in god and feel part of a powerful community that's out there to do good, but I've spend too much time hating on the dark cynical stuff of organized religions. I have come to see most of them as great money scheme's.

This movie called Little Sister made me totally forget about the cynical stuff for a while. It's just simply being part of something good that makes you motivated to do good and ultimately make you feel good about yourself. This movie tackles this feeling in different ways than just religion. I had a sense that the movie put the same feeling on a lot of things in life like going in the army, being a parent or even joining a terrorist group that fights for a cause you believe in. I am just speculating but that's how it translated to me.

There you go, a simple movie about a young nun coming home for the first time in years and it still gave me all the good and bad feelings where it needed to and even gave me some stuff to think about. All the actors are very entertaining and believable, but the lead actress Addison Timlin who plays the nun totally steals the show. A beautiful actress that can tell a story with her face. I loved it.

I definitely recommend this movie. Even if this is normally not your cup of tea, I would still give it a try. It's just 90 minutes and flows by even faster by great editing. You might be pleasantly surprised.

Final Rating: (8/10)


Young nun Colleen (Addison Timlin) is avoiding all contact from her family. Returning to her childhood home in Asheville, North Carolina, she finds her old room exactly how she left it: painted black and covered in metal posters.

Being raised in a Roman Catholic community, I was immediately drawn to the subject matter and the plot does spark some questions. Perhaps this is only regional (I don't think so), but there seems to be a decline in nuns, particularly new ones. They are seen in the community less often, and convents have closed down. So to have a lead character that is actively pursuing such a vocation is striking, as she is going against the flow of society at large.

Let's talk about the lead character, and the talent who plays her, Addison Timlin. The actress had her film debut in the gritty "Derailed" (2005), and has more recently starred in "Odd Thomas" (2013) and "The Town That Dreaded Sundown" (2014). No doubt she has been turning heads, and with "Little Sister" she will be turning many more. The character of Colleen is complex and versatile, and Timlin captures the core of who Colleen is with aplomb.

Although there are many themes that could be examined with regard to Colleen (not the least of which is her familial interactions), what struck me was the idea of growth and change. Colleen is an example of how our teen years are not necessarily an indication of adulthood. Someone in the "goth" scene listening to records about dead babies and Satan is just about the last person you would expect to join the Church, but it certainly is not impossible. We all know high school "losers" who went on to great things, and popular kids who flushed their life away.

Colleen's odd bloody baby dance (possibly the highlight of the film) complements the "growth" theme, and shows there are parts of ourselves that we can never let go of. Despite moving on, Colleen is clearly still comfortable in her goth skin. One might ask: is goth culture consistent with being a good Christian? Can someone be a nun and sing about bloody babies? The answer is yes. Just as horror fans – who surround themselves with fictitious murder stories -- are some of the kindest people on earth. As strange as it may sound, there is no contradiction between telling dead baby jokes and simultaneously upholding the value of life.

Supporting Timlin is Barbara Crampton in one of her best roles, far more serious than her early horror work under the legendary Stuart Gordon and with far more depth than her soap opera stints. Crampton's role is smaller but memorable, and her legion of fans will be sure to savor every minute. Also supporting Timlin is Ally Sheedy, who has always been a treat from her 1980s John Hughes era up through her appearances on "Psych". In "Little Sister", Sheedy is not the most lovable (she might even be seen as a villain), but it's never a bad idea to cast her when you can.

Interestingly, I felt the film has a 1980s sensibility, despite the occasional overt politics and the use of certain technologies like webcams (though cell phones seem to be rare in North Carolina). And I use the 1980s reference as the highest compliment. Being set in 2008, there is a sense of the film being anti-Bush, including a 9/11 performance art piece, and I could have done with less of the politics. The only reason to be set in 2008, so far as I can tell, is to have a reason behind the fate of Colleen's brother with the war in Iraq still going strong. But that wouldn't have been an exclusively 2008 thing.

And speaking of Colleen's brother, a special note of congratulations must go to Brian Spears. I've admired Spears for a long time now through his makeup work with Larry Fessenden, Jim Mickle, Ti West and others in the "Mulberry Street Gang". He goes all out in "Little Sister", making what could be one of the most convincing burned man prosthetics ever put to film.

Written by Melodie Sisk and Zach Clark, directed by Clark, and produced by Clark, Sisk, and Joe Swanberg, "Little Sister" is a film that defies genres. It is never quite funny enough to be an outright comedy, and it seems insulting to lump it under the catch-all of "drama". All I know is that it is a fun and empowering film, and should be watched and enjoyed by any fan of the fantastic film genres. The film has its premiere at Fantasia International Film Festival on July 28, 2016.


Released in 2016, I saw this movie because it had Barbara Crampton in it. I first saw her in The Bold and the Beautiful but it was shortly afterwards when I saw her in Fraternity Vacation that I really fell in love with her due to a certain scene she did there. In Little Sister she has fleeting appearances as The Reverend Mother. To be honest if Barbara had been a real nun I would risk God's wrath just to be with her. Little Sister is about a young nun Colleen (Addison Timlin) who goes home to visit her family and this is set on the backdrop of the 2008 US presidential election and the war in Iraq. Overall Little Sister I found bland in a lot of places but does make an effort in showing Colleen on her reflection in the life that she has chosen to take.

Matthew See Barbara Crampton's Chinese Husband


Guess it's about time I stopped getting surprised by how well-made and enjoyable these smaller- scale, lower budget productions are now. Hollywood's lowest point in time is turning out to be a great opportunity for independent cinema to thrive -- one that seems to have been grasped tightly by the artists eager to deposit their talent, a graceful offering at the viewer's feet.

Very good movie. Subtle. Touching on religion, multiformity, politics, war, originality, depression, esoteric balance. Clever, funny writing, effortless dialogue, casual performances (as per the plot's dictation).

Go in fearless, you will enjoy this one -- and a special shoutout to Ally Sheedy's The Breakfast Club persona, Allison Reynolds, who obviously grew up into a true-to-character-progression Joani Lunsford. Very effective casting and a delight to watch.


Trigger Warning(s): Body Disfigurement

Characters & Story

Colleen (Addison Timlin)

It has been three years since Colleen left home to become a nun in New York. But with her final vows approaching, her mother superior recognizes something is off. For while Colleen, thus far, has been an excellent nun and has done the community service without complaints, she seems bored by their lifestyle. So, in order to give Colleen the chance to really think things over before her final vows, she gives her 5 days to handle her business. Leading Colleen to return home and see her brother Jacob once more, and deal with the person perhaps most hurt from her abrupt leaving – her mother.

Jacob (Keith Poulson)

As tall as the Undertaker and with a burnt face reminiscent of Deadpool, Jacob seems to have become a serious homebody. One that rarely wishes to go outside and basically drums away all his frustrations. Yet, despite him ostracizing himself, partly due to health reasons mind you, his fiancée Tricia (Kristin Slaysman) remains. But as Colleen returns, we notice that perhaps Jacob and Tricia's days may be numbered if something doesn't change soon.

Joani (Ally Sheedy)

Joani had children thinking it would make her more of an adult, focus her, but all it ended up doing was stressing her out. To the point, she made the type of decision which, in a combination of what happened to her brother, who was just returning from Iraq, to what Joani did, it drove Colleen away.


My Big Brother

Honestly, the sole highlight is the relationship between Colleen and Jacob. Despite Jacob's relationship with Tricia, and his parents being only a couple of minutes away, only Colleen seems capable of getting him back to being around the public. Which she does with such care that it really builds off all the home movies we see establishing their relationship. And praise be to Timlin for usually when chemistry is mentioned, at least with me, it is about a romantic relationship. Yet Timlin provides an alternative. Her chemistry with Poulson, as brother and sister, seems to genuine. Be it her worries, her hopes for him, or doing whatever it takes for the sound of her brother's laugh is one of her most favorite things in the world.

Low Points

Lacked Emotional Gut Punch

Let me admit that I've been tired the last few days and perhaps that is why I've been feeling almost indifferent to stuff posted over the last week. Yet, at the same time, as noted in the past, when you watch so many movies, TV shows, see a few plays, read so many books and play a handful of games, your expectations for what can qualify as good, fresh, new, comical, and etc., raise more and more. So with a movie like this, featuring an Iraq veteran with a severely burned face who is avoiding the public for fears of being watched or because CNN is harassing his family for an interview, you'd think there would be more there. Again, like with Len and Company, there is no expectations or even need for being over dramatic, but there is just this sense of numbness which isn't talked about or explored which leaves the most interesting thing about the character being the makeup to make his face look like that.

Then with Joani, she is the reason Colleen left. Heck, with Colleen pretty much only being affected by her presence, since with Jacob she sees nothing but her big brother no matter what, she was the source of two people's opportunity to create something. However, while Joani is a bit off, she almost comes off as more comically erratic than how Sally in Hurry Down Sunshine seems (review coming soon so that the reference makes sense). What I mean by this is, she is damaged by failed expectations, you can see that, but the way she copes is by sometimes seeming silly and that takes away from the seriousness of her past action. On top of that the way Sheedy plays her, while I'm sure not her intention, it makes for an experience where it is like she can't balance a woman who essentially wants to be friends with her kids for the responsibility of being their mom is too much for her.

Overall: On The Fence (Home Viewing)

In no way is Little Sister a bad movie, it is just another one which doesn't have that extra oomph to make it stand out. For even with the inclusion of a young woman becoming a nun, a mother with mental health issues, and a brother who is a badly burned Iraq vet, nothing is done much with these people. Something I could argue is because they don't want to sensationalize their lives, sort of how Loving seems to be written and performed (Links to an interview). However, being that these actors don't have that type of charisma and screen presence to make a movie without dramatics interesting, that lack of compensation leaves you with a dull experience.


After being thoroughly impressed by Addison Timlin in "Submission," I decided to find out what I'd missed after previously dismissing this talented actress as...well, just another actress. And since I completely rewrote my review for that film, I ought to do the same for "Little Sister."

The eponymous character, in both literal and clerical senses, is Colleen Lunsford (Timlin), a twenty-odd novitiate devoted to her NYC church. She finds fulfillment in doing God's work, yet her Mother Superior (Barbara Crampton) can tell something is holding her back. It's probably to do with her childhood home in Asheville, NC, and when a halting, exclamation-filed email from her mother Joani (Ally Sheedy) announces the return of her brother Jacob (Keith Poulson) after a life-changing experience in Iraq, Colleen can't help feeling compelled to return. If not for herself, then for Jacob, who in the height of the 2008 elections is being held up as a symbol of everything that's wrong with America, whether he wants to be or not. In reluctantly opening herself up to that world again, and her roots as a high-school Goth chick, Colleen has to wonder if she can't be both who she was then and who she intends to become. Weirdness ensues along the way. Such weirdness.

It's a good setup for an indie drama, and "Little Sister" is very indie, from its low-key vibe and naturalistic performances to its emphasis on character over plot. Aside from Colleen's arc there's little sense of forward momentum or a buildup toward something. But that's okay; writer-director Zach Clark is content to merely observe these people finding their way through life, much like Greta Gerwig did with "Lady Bird," and both films are all the better for it.

At the heart of "Little Sister" is Colleen's relationship with her deeply dysfunctional family and their halting attempts to connect. Jacob, horribly disfigured and almost angry with himself for not dying, has become an antisocial shut-in, pounding away on a drum set at random hours to keep his demons in check. His live-in fiancee, Trisha (Kristin Slaysman), remains devoted, but his aloofness is clearly wearing her down. Joani and Bill (Peter Hedges), lifelong stoners, simply take it in stride - although Joani, fighting her own insecurities with prescription meds and less conventional remedies, always seems one forced smile from a nervous breakdown. Only Colleen, who escaped the cloying passivity of this small town, has the patience and determination to keep trying. These relationships have an unforced, bittersweet tone to them; feelings of rediscovery and camaraderie, or antipathy, are authentic and rewarding, and watching them grow and change is an equal pleasure.

Much of this the film owes to Timlin, once again fantastic in a complex, layered role. In early scenes at the nunnery, Clark uses her petite stature and Natalie Portman-esque voice to great effect, showing us a young woman who doesn't exactly float through life but isn't taking charge either. She stumbles on her words, has difficulty giving the Reverend Mother a straight answer, and recoils from the overbearing attention of people who have "never seen a real nun before." The unease and indecision is written all over Timlin's face, even behind a pair of sunglasses, and you have to wonder how she survived her kooky family. But once Colleen decides to reach Jacob on her own terms, we get a totally unexpected scene - arguably the film's best - that's wonderfully out-there and yet grounded at the same time, a glimpse of who Colleen once was and might not have completely let go of. Timlin imbues her with such warmth and quiet strength you'd hardly believe this is the same actress who played a far more dubious person in "Submission." That's how good she is.

She's ably supported by Poulson, who projects weariness, self-loathing, and a slow return to feeling at ease with himself using little more than his voice. Crucially, he and Timlin have a solid rapport; I particularly liked the way the film contrasted their height difference without making it a thing. Most impressive, though, is that the considerable layers of makeup on his face are never the most interesting thing about him, even if it's what you immediately notice. He digs deep enough that by the end, it's practically irrelevant.

The rest of the cast, made up of relative unknowns and a few indie veterans, are largely fine without any real standouts. But I must make mention of Ally Sheedy. Other reviews likened it to watching Allison from "The Breakfast Club" all grown up and realizing she's probably turned into her parents (forget all that makeover crap), and it's an apt description. Flashbacks in the form of old home movies - a slightly contrived device, particularly the way adults are only seen from the waist down - show us a woman who wants the best for her children yet resents them, in a way, for the sacrifices they represent. Life has continually disappointed Joani, and while she makes every effort to cope, sometimes it's easier to tune out and let things run themselves into potential disaster. Sheedy captures this in smiles that look like grimaces of pain, an annoyed glare as Colleen prays before dinner, or the haphazard way she pours herself wine while adding liberal amounts - among other things - to her cooking. It flirts with being too broad early on, but finds balance at exactly the right time, during a quietly fraught talk in which mother and sister only just learn how to see eye to eye. In that moment, unburdening her soul to the one she desperately wants to feel close with, Sheedy is heartbreakingly authentic, and if she really has decided to retire from acting - except for a cameo in "X-Men Apocalypse," she has not appeared in anything since - this was a strong final role.

I hesitate to say there were things I didn't like about "Little Sister," and they're honestly more nitpicks than anything. Earlier I mentioned the relative lack of plot, and considering what the film wants to be, that's fine. However, there were one or two tangents I wish had been elaborated upon, and characters I would have liked to spend more time with. The film's flirtations with politics - making Jacob an Iraq vet during the 2008 election, an interpretive dance show that came off as very anti-Bush - seem to be pointed commentary, but ultimately do nothing except date the film. Again, nitpicking, but I felt like Clark wanted to tell me one thing, then lost interest and moved on. But hey, "Lady Bird" did the same, and I loved "Lady Bird." So maybe I'm just dumping on this film for not being "Lady Bird," which is of course unfair, so pay that no mind.

No, the one moment that truly bothered me came in the last ten minutes, during a sudden burst of what I guess you could call action after there's already been a dramatic climax. Upon reflection it's not wholly unexpected - at least two earlier scenes hint at it - and there's a morbidly goofy tone, but it feels like a weird detour, and afterward I had to wonder why it was there at all. But I might just not be reading it correctly. Who knows?

I mentioned in my review of "Submission" that, while I realized Addison Timlin is an amazing actress, I'd yet to see her in a film that equaled the level of passion and dedication she brings to each project. "Little Sister" is, in my limited experience, perhaps the closest she has come thus far, giving her a well-deserved leading role and surrounding her with a strong supporting cast. At heart, it's a slight, quirky character drama made with obvious love, a story of finding yourself while helping others do the same, and what it means to be a family. The impression it makes will be small, but hard to forget.


I thought to myself after reading the Netflix description:"A goth chick? Alright, I am ready to hear Emperor, Mayhem, Celtic Frost and other great Black Metal bands!"

Boy, was i disappointed. The music was pretty lame. I believe there was some Misfits in there. I never cared for them though. The song the nun girl danced to while murdering babies was just awful. That was a really weird scene too. What was going on there?

Throughout the movie the brother plays his drum kit. I was hoping for some brutal double bass drum action and other metal drums. Nope, there was none of that.

I have what is probably an unrealistic idea that all Goth girls wear thongs. The main gal's underwear drawer didn't have any of that. All it had was a bunch of socks. Another disappointment added to the list.

Other than the music choices "Little Sister" is a cute movie. I can relate to the brother as I am an Army vet who has seen combat. Thankfully I was not wounded or disfigured like him. But that sense of hopelessness and uncertainty about life after the military was handled accurately. His desire to not be called a hero is understandable. I was never called a hero. But I always felt weird when people thanked me in the airport, etc. I definitely appreciate the support (look back to Vietnam). I always thought: "Why are you thanking me? I am just doing my job. The character's situation was different from mine. But I suspect most veterans feel the way the brother feels.

This movie also educates about the Catholic Church and the Nunhood. I had No idea there were so many different outfits. My mind always goes to Julie Andrews in "The Sound of Music".

The main character's desire to help her brother is nice. I wish everyone was like her. This is a decent film. It had a few minor flaws. Did the brother and his sister's friend have a sexy time? What happened to the brother's fiancé and her adult chatting sexy time? Did the Nun get into trouble for eating pot cupcakes and drinking beers? Did she get in trouble for disobeying her Mother Superior? I have been watching Borat lately. Very nice! High five! Maybe all these loose ends are smoothed over by the viewer in their imagination?