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Her idea to have a memorial service for the lost child/sibling is struck down vehemently by Beverley.
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Though her daughter has been gone for more than fifteen years, she still holds out a blind and total hope that the girl (now a woman) will be found and reunited with the family.īeverley’s younger daughter, Leah ( Rose Byrne), a forensic pathologist graduate student, is every bit as stuck as her parents in this time warp of waiting, but not by choice. “The Sister” opens with Beverley ( Mary Steenburgen) choosing a picture of her older daughter for age progression to post on “Missing” fliers. Revealing of her psyche? Without question. In a truly inspired and richly telling scene, Arden, nude as the dead body she stumbled upon, strikes the same pose as the corpse’s final repose, careful to curl her fingers just so. At first glance, Arden would seem to be shy and insular, but when she accepts a date with grocery store bag boy Rudy ( Giovanni Ribisi), you can see that something within her has crossed over to a place beyond the crushing walls of her mother’s house, with all of her mother’s things, and worst of all, with her mother. Arden alerts the police, which serves to earn her nothing more than her mother’s ire and venomous tongue. While out on a walk, Arden discovers the mutilated corpse of a young woman, Krista.
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Told in five interconnected vignettes, the movie begins with “The Stranger.” Toni Collette plays Arden, the hangdog caregiver to her foul and vile mother ( Piper Laurie, playing up the crazy every bit as much as she did in Carrie). If you could shove troubled people under a microscope, this is pretty much what you would find on the slide. But writer/director Karen Moncrieff ( Blue Car) veers off the beaten storytelling path and instead rushes headlong into the prickly bramble of human relations. The Dead Girl, rated 75% fresh by, appears straightforward enough at first.