Lonette McKee as Sister Williams, initial lead singer of the group, forced to leave because of her drug addiction.Irene Cara as "Sparkle" Williams, youngest sister who becomes the star of the trio and ultimately a solo artist.Thomas as "Stix", manager of the girl group, Sparkle's love interest, an initial member of the group. In the end, after reconnecting after Sister's funeral, it is only Sparkle and Stix who climb the ladder to success. Sister is in an abusive relationship and is hung up on drugs while Delores leaves the city in pursuit of racial equality. Stix gives up on his music career and leaves the city and thus breaking Sparkle's heart. Stix, Sparkle's love interest and the group's manager, is able to help bring the group from "amateur nights to brief stardom before tragedy (dope, melancholia, the wrong man)" ensues and the group splits. It begins in Harlem, New York, in 1958, and follows the girl group, Sister and the Sisters, which is made up of three sisters: Sister, Sparkle, and Delores. I recommend it for all who know the original, all who love good music and all who love Whitney.The movie is a rags to riches story. ![]() ![]() But these types of movies aren't meant for everyone's enjoyment, only those who understand and appreciate this type of story. I have a feeling that a lot of people are gonna love this movie, a lot of people are think it's okay and a lot of people are going to hate it. The vocals were good but of course Whitney Houston dominated in that department being that she is one of the greatest voices to ever walk this Earth. I'm happy that the original music was in this film along with new ones. You can tell that they all loved each other and would had each other's backs no matter what. There was more character development, more backstory and since the the movie is about family the bond between all three sisters s what made me love this movie even more. But this adaption definitely left me satisfied. There were holes in the story and unanswered question but I feel as all movies back in the day were still finding their proper structure. While the acting wasn't Oscar worthy everybody did a solid job. I had never heard of her until this movie but she was awesome. But the star of the evening was definitely Carmen Ejogo as Sparkle's older and sexy sister, Sister. Her vibrant personality is totally opposite of the film's character who was depressed, unhappy and sort of narrow minded. Whitney Houston did phenomenal as the mother. In the original, Sumpter's character didn't really have much of a story but I appreciated the fact that the writer's gave her a backstory. Derek Luke was solid and Tika Sumpter was awesome. He's usually the smart mouthed side kick in stereotypical black films but his personality played well with his character. I don't think the character was a stretch for her because she's sweet and shy in real life but for this to be her first film she did great. Also, the writer put a few spins on the story that worked very well as an adaption. It had a lot of memorable one liners and great comebacks. For this to be Mara Brock Akil and her husband's very first feature film together, the script was very well written. As an upcoming writer and film school graduate, there are things about this film that I can truly appreciate more than the average movie goer, like the costumes, the set design, the hair, the locations, and most definitely the script. But to my surprise, I enjoyed it from beginning to end. But thankfully I was invited on a date, so I was relieved that I didn't have to pay for this terrible, terrible film. ![]() I kept telling my roommate and best friend that I'm not excited and might just watch it on bootleg and if I do go to see it it will only be for the late and legendary Whitney Houston. I actually thought that this movie was going to be terrible. ![]() Before I begin reviewing the movie, I just want to say first that if you haven't seen the original or didn't even know that there was an original, you might not enjoy this movie as much as someone who respects it's classic status in black cinema.
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