In this task, you are given a text of many news articles seperated by special token "|||||". Your task is to summarize them.
Q: Amy Poehler and Tina Fey are Maura and Kate Ellis, the sisters of the title in what amounts to an “Animal House” for libidinous females crossed with “Risky Business” for ostensible adults. “Sisters” is strenuously vulgar, as well as studiously raunchy, and both of these eminently likable comedians want us to know that the whole silly, chaotic thing is in good fun. But come on, people, it’s really bad fun that’s badly directed (by Jason Moore), badly written (by Paula Pell), badly performed and bad news for anyone who cares about the quality of big-screen comedy. 
  
 The... |||||  
  
 Tina Fey and Amy Poehler reunite in “Sisters,” about two disconnected siblings summoned home to clean out their childhood bedroom who wind up throwing a party that turns into a rager. (K.C. Bailey/Universal Pictures) 
  
 It takes superior artistry to take the rude, crude and socially unmentionable and make it feel upliftingly wholesome. Such is the magic of Tina Fey and Amy Poehler, the dynamic duo at the playful, prurient, occasionally perverse heart of “Sisters.” As temperamental opposites who happen to be siblings, the women who for years have given the Golden Globes ceremony its zing — and who made the underpraised comedy “Baby Mama” such a revelatory pleasure — here spin an otherwise slender premise into antic, quippily lighthearted comic gold. 
  
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 Purposefully cast against type, Fey plays Kate, a blowsy 40-something beautician with no sense of responsibility and a troubled relationship with her teenage daughter (Madison Davenport). Her estranged younger sister, Maura (Poehler), is the responsible one, a nurse and bleeding heart who compulsively adopts stray animals and who, as the movie opens, condescends to a construction worker she believes to be homeless by spraying sunscreen on him and telling him to have some moles checked. (Fans of the brilliant Web series “High Maintenance” will be cheered to recognize Ben Sinclair in the role.) 
  
 When Kate and Maura’s parents announce that they’re moving, the sisters come to Orlando to clean out their childhood bedroom. Rather than purging childhood artifacts, however, they wind up bingeing on memories and fond what-ifs, finally deciding to throw one final blowout of a party, with all their former friends in attendance. 
  
 Directed by Jason Moore (“Pitch Perfect”), “Sisters” follows the recent “Bridesmaids”-inspired trend of R-rated comedies that trade on bawdy one-upswomanship in the form of vulgarity, sexually charged slapstick and gross-out sight gags. (Screenwriter Paula Pell has a cameo in one of the film’s ickiest examples of the latter.) By turns gently ribald and unapologetically filthy, this exercise in escalating fits of mortification often resembles a spin on “Trainwreck,” assuming that the summer hit had focused on Amy Schumer’s strained feelings about Brie Larson, rather than her pursuit of Bill Hader. 
  
 The change of focus here is a welcome one, and Fey and Poehler fall easily into sync with Kate and Maura’s slightly competitive but largely affectionate dynamic, with Kate egging on her good-girl sibling to let loose and live a little, even if that means that, for the Last Great Kegger of All Time, at least, it’s Kate who will have to be the designated Party Mom. A piece of visual humor regarding that label, involving co-star Rachel Dratch, is one of several highly amusing cutaways. 
  
 The bulk of “Sisters” revolves around the party, a bacchanal of epic and increasingly hilarious proportions. What starts as a dull grown-up affair of people sharing about menopause, vaginal rejuvenation and the sundry indignities of aging — “How can one person have two colonoscopy stories?” a character asks — eventually descends into a den of iniquity involving sex, drugs and a bizarre set piece during which a cute neighbor (played with appealing warmth by Ike Barinholtz) runs afoul of a musical ballerina figurine. 
  
 If the outrageous bits of “Sisters” are meant to be howlers — and they admittedly are — it’s the film’s quieter moments that wind up being most memorable. A sequence during which Kate and Maura are trying on clothes bubbles and burps with off-color brio (“We need a little less Forever 21 and a little more Suddenly 42,” Maura mutters). Of course, it’s patently absurd to believe Fey, pop culture’s go-to hyper-accomplished multi-hyphenate, as a screw-up who brazenly bares her breasts at an onlooker while invoking “poppin’ fresh” cookie dough. The spectacle of her playing Kate is strictly of the “Freaky Friday” variety, while Poehler’s Maura feels like a far more spontaneous and natural extension of the sweetly daffy persona she’s honed since her days on “Saturday Night Live.” 
  
 Whatever characters they’re playing, Fey and Poehler can be counted on to infuse even their crassest moments with disarming likability. “Sisters” goes for broke in both directions, with winning, helplessly entertaining results. Even at its naughtiest, it’s never not nice. ||||| When Tina Fey and Amy Poehler lose control together, it’s like that party that was sooo fun but the next day you can’t really explain why. Their latest exploit, “Sisters,” is as loosey-goosey as a movie can get without falling apart, but the amusing twosome’s chemistry mostly overcomes the chaos. 
  
 Maura (Poehler) is a divorced nurse and incurable do-gooder, the kind of person who hands out free sunscreen to the homeless and didn’t smoke pot in high school because she was afraid there wouldn’t be enough to go around. Her older sister Kate (Fey) is a wild-child, sporadically employed hairstylist whose own daughter feels like a responsible nerd by comparison. 
  
 When their parents (James Brolin and Dianne Wiest) announce via Skype that they’d like to sell the family house in Orlando, the sibs unite to finally clean out their poster-plastered high school bedroom, then plot to sour the deal with the home’s new owners. The only solution, natch, is to throw a debauched, “off the hook” par-tay for all the archetypal losers from high school who are still around, including drunken lech (John Leguizamo), boring mom (Samantha Bee), lame jokester (Bobby Moynihan) and bitter nemesis (Maya Rudolph). 
  
 Maura has fallen for another handy nearby archetype — all-American neighbor guy (Ike Barinholtz) — and wants to hook up with him at the party, so the sisters decide to pull a Freaky Friday switcheroo. Maura dons Kate’s daring madcap cloak for the night and Kate plays “party mom,” the one who holds pukers’ hair over the toilet. But when imposing drug dealer Pazuzu (a massively pumped-up John Cena) shows up to peddle his wares, all bets are off. High-jinks ensue, including a ribald sisterly dance-floor butt jam, rock-climbing on the fireplace, make-out sessions, cop drop-ins and vengeful schemes. 
  
 “Sisters” is that rare Hollywood comedy that’s actually better than the promo trailers — which had anxious fans fearing the hilarious pair had lost their touch. There’s no story arc to speak of, and the plot is riddled with more holes than an age-inappropriate party dress: No matter how emotionally immature two forty-something women are, can we really expect to believe they’d get so upset over Mom and Dad selling their childhood home? Or that a spontaneous rallying cry from Kate would turn a comatose crowd into 24-hour party people? 
  
 No matter. Writer Paula Pell played up the two stars’ strong points in a script tailor-made for them like a sort of haute couture of lowbrow humor. And director Jason Moore (“Pitch Perfect”) has a way with spinning organic gold out of manic “girlfriends night out” energy, bringing in a virtually nonstop cameofest of “SNL” alumni and other familiar funny faces as reinforcement. 
  
 Above: Amy Poehler and Tina Fey reunite for “Sisters,” about two disconnected sisters summoned home to clean out their childhood bedroom before their parents sell the family house. 
  
 Fey and Poehler have never relied more on vulgarity and stretched-out slapstick shtick for easy laughs than they do here. Yet they have no trouble taking the audience along for an LOL ride, because they make you feel like you’re eavesdropping on old friends drinking too much wine at the next table. 
  
 No matter what nonsense they spout, their mood is infectious. When Maura tells a doubting Kate that a stunt they’re about to pull is “cool because we’re doing it, and we’re cool,” she may as well be talking about the whole movie. Most people couldn’t induce guffaws by posing under a still of Olivia Newton-John in “Xanadu” while blowing their hair back with an old-school dryer and wearing a frozen, slack-jawed expression. Poehler can, and does. 
  
 “Sisters” is no holiday classic, not by a long shot of tequila. But it’s a kick of a way to get your ya-yas out before heading back into the seasonal fray. ||||| It is undeniable that Tina Fey and Amy Poehler have great comic chemistry together as the sisters of Sisters. Just as they did as fetus rivals in Baby Mama in 2008. 
  
 Every bit as obviously, Fey and Poehler strut their funny-poignant-vulgar-silly-emotional stuff in a stupid movie directed by Jason Moore. Just as they did in Baby Mama. 
  
 This drives me nuts as a member of the audience for Sisters. You feel that there is a good and maybe even a meaningful comedy here. But it never gets its act together while mashing up fragments of the comedy classic Animal House and playing it out like a drug-and-alcohol-fuelled episode of Desperate Housewives. 
  
 There are spikes of absurdity, of course, that generate bursts of laughter. The Fey-Poehler team, with their extensive, overlapping experience on Saturday Night Live, know each other’s comedy beats so intimately that they can actually convince you they are on-screen sisters. 
  
 But the spikes are separated by flat-lining sections of bad plotting, haphazard direction and poor selection of secondary characters. 
  
 Especially the coke-snorting, cake-screwing, Pacino-insulting antics of Bobby Moynihan (a current SNL cast member who does everything from Drunk Uncle to brassy celebrity send-ups, including Donald Trump). Unlike Seth MacFarlane, who can push a Family Guy joke sooooo far that it comes out the other side of boring and becomes funny again, the Moynihan approach here never gets even mildly amusing in the first place. His boar-like character is a boor and a bore. 
  
 Maya Rudolph’s loudmouth, self-important character is not much better as the movie’s villain. Other talents are also wasted in the movie — just as their characters get wasted in the party scene that occupies most of the movie. 
  
 The screenplay comes from SNL writer Paula Pell, who also worked on Fey’s sitcom 30 Rock. Both Fey and Poehler are involved in the production. That meant a lot of femme power. Yet they hired a guy to direct. While Moore has decent recent credits — both of the Pitch Perfect hit movies — Sisters might have thrived with a female director. Just saying. 
  
 The scenario is straight forward. Fey is the trainwreck sister who struggles to raise her teenage daughter while continuing her party-hearty ways. Poehler is the uptight, newly divorced sister who has never cut loose. They live in different cities. 
  
 The two are summoned by their parents (James Brolin and Dianne Wiest) because the family home has been sold. Fey and Poehler decide to stay overnight in the house one last time before it is turned over to the buyers. Naturally, they throw a hellish party and trash the place. Hence, the Animal House attitude. 
  
 While all this nonsense is going on, personal issues are being dealt with — but strictly in a superficial way — while Fey and Poehler and company get trashed, crude, profane, childish and idiotic. If you think that sounds like a good thing, meet the Sisters. Otherwise, find something else to do. 
  
 Twitter: @Bruce_Kirkland 
  
 bruce.kirkland@sunmedia.ca |||||
A: 
Two very different siblings return to their childhood home to pack up before new owners move in, then decide to throw one last party in the R-rated comedy Sisters, starring Tina Fey and Amy Poehler. There's no denying the pair's chemistry, but not all critics are loving what else the film has to offer. Here's what they're saying: Fey and Poehler manage to "spin an otherwise slender premise into antic, quippily lighthearted comic gold," writes Ann Hornaday at the Washington Post. The pair "fall easily into sync" and "can be counted on to infuse even their crassest moments with disarming likability," she adds. "Sisters goes for broke in both directions, with winning, helplessly entertaining results. Even at its naughtiest, it's never not nice." Kristin Tillotson admits Sisters "is as loosey-goosey as a movie can get without falling apart, but the amusing twosome's chemistry mostly overcomes the chaos." While the plot is "riddled with more holes than an age-inappropriate party dress," the film is "actually better than the promo trailers—which had anxious fans fearing the hilarious pair had lost their touch," she writes at the Minneapolis Star Tribune. It helps that the vulgar script was "tailor-made" for its stars. Joe Morgenstern, on the other hand, wonders if Fey and Poehler have indeed lost their touch. Sisters is "really bad fun that’s badly directed, badly written, badly performed, and bad news for anyone who cares about the quality of big-screen comedy," he writes at the Wall Street Journal. The big party that's the focus of the film "turns into one of the most boring bacchanals ever filmed," while the overall flick is "lazy, and demeaning to the talented people at its center." Basically, it's "a stupid movie," adds Bruce Kirkland at the Toronto Sun. "You feel that there is a good and maybe even a meaningful comedy here. But it never gets its act together," he says. There are "spikes of absurdity," but in between are "flat-lining sections of bad plotting, haphazard direction, and poor selection of secondary characters," including those played by Maya Rudolph and Bobby Moynihan. (Fey and Poehler will reunite again on SNL on Saturday.)