Not without its impressive points (the decayed parchment-gray of Harriet Andersson's skin and the grunting exertion of her performance), Bergman's film about three sisters and their excruciating memories is nonetheless one of his shallowest. The characters make unproven declarations that they are in a dream or in misery or in hell, but it looks merely like a familiar, wonderless Bergman set-up rather than any of those other states. (1972) — Duncan Shepherd
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