logo2.jpg
   THE BANGER SISTERS (2002) 

[Get the Poster]

CAST
Goldie Hawn
Susan Sarandan
Geoffrey Rush
Erika Christensen
Robin Thomas
Eva Amurri
Matthew Carey
Andre Ware

DIRECTED BY
Bob Dolman

PURCHASE


DVD



Soundtrack




Time: 98 mins.
Rating: R
Genre: Drama/Comedy


A film that's as empty and aimless as its' two lead characters. It's a well-known fact that good parts are hard to come by for actresses over a certain age, which is why I was left wondering what two very accomplished actresses saw in this lackluster, unfunny, routine, reunion "comedy." While speculating what the future would hold for a pair of hardcore rock-n-roll groupies is an interesting concept, the reality is less entertaining and more painful than an episode of VH1's "Where Are They Now?" In the case of Suzette (Hawn) and Lavinnia (Sarandon), the former is still holding on to her rock-n-roll roots by her fingernails, while the latter has buried hers under family values and the suburban American dream. Despite the utter outrageousness of her character, Hawn's future as a bartender still working on the Sunset Strip is far more believable than Sarandon's buttoned up, morally rigid mother of two who turns the music down. Are we really supposed to believe that a woman who took Polaroid of the genitalia of her famous rock star lovers would turn into such an uptight bitch? Please, age doesn't change the music you listen to, just how loud you listen to it.

Any mother would draw the line at allowing their daughters to indulge in drugs and promiscuous sex, but one who lived through it herself would certainly be more open-minded and thoughtful about such occurrences, no matter how many years had gone by. Sarandon's attempt to reconnect to her true self is at the heart of this story, which is why the film never gets off the ground. She keeps her past a secret and her inner child bottled up for 20 years and is suddenly freed after one night of partying with Suzette? Give me a break. If it only took a few hours of dancing and some liquor to loosen the floodgates the door to her wild side would never have closed at all. I guess we're just supposed to accept that motherhood and marriage to a conservative lawyer sucked the rock-n-roll right out of her soul since those are the only reasons the film gives us for her radical lifestyle change. Responsibility does not necessarily have to equal repression, but that's the only story being sold here.


"I want to go out but everything I own is beige."

It's easy to accept that she would keep her salacious past hidden from her children, but it's more than a little hard to swallow that her husband would be so stunned. I'd wager a guess that he knew she wasn't a virgin when they got married. Though the bigger question is why is her family so upset? Are we really supposed to believe that one night of partying and a really bad haircut would irreparably destroy the fabric of their lives forever? Doesn't Mom deserve to have a little fun? What's worse is that the girls complain when she's too controlling and then complain more when she actually decides to enjoy a little me-time, leaving them to fend for themselves. Ah, the joys of motherhood. Instead of being used as a springboard to explore deeper topics and emotions, all her daughters' fears and frustrations lead to are petty arguments and snotty behavior. How different this film might have been if there was a woman behind the screenplay. What Vinnie discovers is that her children are brats and her husband is more concerned with appearances than her feelings. How fun for us.

Since Hawn's character must learn something too, we're saddled with a terribly weak sub-plot starring Rush as an unsuccessful, neurotic, suicidal screenwriter who finds his muse in Suzette. His presence in her life comes about rather randomly, yet gives her someone to care aboutÉand conversely someone to care about her. Their sudden relationship is clearly a mere plot device developed to add wackiness and romance to the rather bland reunion story. Unfortunately, most of it is far from funny. About the only thing worthwhile about these sequences is that Hawn proves over-50 can still be fabulous. More depth into why these women chose the paths they did would have gone a long, long way in enabling us to care one whit about their crises of identity. It must have been the allure of working together that compelled these two wonderful actresses into making this project. The concept is an intriguing one; it's the execution that falls flat. As much as I admire the talent of Hawn and Sarandon I can't recommend this woefully, unfunny tale of reinvention. Even their fans will find nothing of interest here.


home | reviews | actors | actresses | film heaven | all reviews