Violet & Daisy (2013)
Critics Consensus: No consensus yet.
Critics Consensus: No consensus yet.
User Ratings: 2,798
Movie InfoViolet (Alexis Bledel) and Daisy (Saoirse Ronan) are a pair of gum-chomping, gun-toting teenage assassins who casually snuff out crime figures in New York City, bothered only by the fact that a concert by their favorite pop idol Barbie Sunday has suddenly been canceled. Determined to raise cash for some Barbie Sunday dresses, the duo takes on a new hit, only to discover a kind of reckoning in the form of sad-sack shut-in (James Gandolfini) who is dying alone in his apartment of terminal cancer. He persuades the duo to kill him out of mercy, prompting an odyssey of self-examination that catapults the junior enforcers into a world beyond Barbie Sunday and bullets for pay. From Geoffrey Fletcher, the Academy Award-winning screenwriter of PRECIOUS comes a mesmerizing hybrid of New York City crime fable and existential coming-of-age drama in which teenage kicks match wits with adult-world turmoil, placing three wounded souls into a line of fire none expected - themselves.-- (C) Cinedigm … More
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Critic Reviews for Violet & Daisy
A thriller that might as well have been released in 1996, when everybody and their brother and their sister and their cousin twice-removed was trying to be Quentin Tarantino ...
Of course, the violence is cringe-worthy and, at times, over the top. But view this as a modern comic book/fairy tale, and it's easier to accept this saga of girls with guns and the life lessons they eventually confront.
The film's subtle visual allure is all but stamped out by the impression that the director tries too hard to be an idiosyncratic auteur in the vein of Quentin Tarantino.
Violet and Daisy are just violent and crazy - which is, ultimately, the real problem. And why we should care about them remains the one mystery no one here can quite unravel.
We don't feel the weight and menace of death, nor the volatile emotions of youth, and have nothing to respond to beyond the spectacle of girls with guns.
This self-consciously quirky comedy-thriller... swings unevenly between passages of soul searching and bouts of cartoony violence in the Tarantino mould.
Though it can't keep up that kind of energy throughout, especially as it's set mostly in one room, it's charming enough -- and short enough -- that there are no hard feelings.
Alexis Bledel and Saoirse Ronan are way too good for material as obnoxious as this.
A lot of acting talent is squandered in Violet & Daisy, a sort of postmodern coming-of-age story about two teenage girls who kill people for a living, then play patty-cake as they plan their next hit.
Subverting audience expectations of an over the top "teenage girl killer" movie with a character study could have been great, but the character study in question feels paper thin.
Neither as writer nor as director is Fletcher able to sustain his conceit.
While the concept has potential, it becomes an exercise in shallow gimmickry that never captures the right tone to generate either laughs or suspense.
A fluffy excuse for random violence is saved by ethereal performances by Saoirse Ronan and James Gandolfini.
A movie can stick with genre basics if it has fun doing so, but Violet & Daisy lacks the freewheeling spirit of great B movies.
Subversive, bold and fresh. A guilty pleasure in spite of its uneven tone.
Violet & Daisy is a cool movie. It's strange and ambitious and affecting and extremely well-acted throughout a thoroughly esoteric script.
You can almost see the moment when the super-talented Saoirse Ronan checks out in terms of character and I think James Gandolfini gave up before the end of rehearsal. I just felt bad for Alexis Bledel.
Hardly a follow-up that will have [Fletcher] garnering more awards. Not because it's bad; it's just really cartoony, as in artificial, two-dimensional and rather childish.
Audience Reviews for Violet & Daisy
I judged Violet & Daisy too soon. Direction and story-wise, I thought it was going to be a Luc Besson wannabe but would ultimately feel like another poorly conceived Luc Besson Produced film. Meow. I was wrong, and I am ashamed for committing that crime I hate most; judging a film at a glance. Violet & Daisy doesn't just look good, but it has real depth to it. The script is punchy and clever. I overheard someone liken it to a Tarantino script but I would argue that QT's scripts are nothing more than audio pop-art, Geoffrey Fletcher's script has meaning, it's organic, it evolves and dazzles just as much as the visuals do. This isn't a bubble-gum glorification of violence either, if anything it is actually the polar opposite and a pretty neat alternative. The performances are pretty strong too, with Alexis Bledel at personal best, Saoirse Ronan proving her worth and the late great James Gandolfini reminding us for one of the last times why we both love him and will miss him. Violet & Daisy is hugely misunderstood in my opinion, people are missing the parody somewhat. The endless comparisons to Tarantino's films are tiresome, like he ever came up with an original idea? I would suggest Violet & Daisy is for people who would agree with my last statement so if you would like a bit of salt on that popcorn for a change, give it a go!
This is obviously a passion project for writer/director Geoffrey S. Fletcher, after his success writing the screenplay for "Precious." The film follows two teenaged assassins who act girlishly, and care more about fashion and being alternative than their actual marks. They are tasked to kill Michael (Gandolfini) but find it very difficult because they bond with him. The premise could have been great if the characters were better, and it was either more or less campy, but this film is stuck in purgatory. Most of the scenes are quiet, austere moments when the conversation turns to whispers and our protagonists become contemplative about their lives. Though the film progresses with our two killers learning a lot, they come out of the film as bland and cheery as in the beginning. Besides its meandering plot, this film does have amazing cinematography, and the editing mirrors Tarantino's later films. Still, this approach to murder via childish purity needs tender care and attention, and Fletcher is more preoccupied with tone and style.
This was written and directed by Geoffrey S. Fletcher, who won an Oscar for his script for Precious.
I'm kinda thinking that maybe the Academy should take his statue back.
This tale of two gum chewing, gun toting teenage teeny bopper assassins should have been a fun romp, and yeah, some of it is kinda fun and enjoyable, but overall, it's just a weird, uneven mess. That, and only one of the two leads is an actual teenager (just barely, since she's 19), while the other is freakin' 32.
Anyways, Violet and Daisy, when not performing hits, are die hard fans of pop superstar Barbie SUnday, and, when they find out that her upcoming concert is cancelled, they get upset, but decide to drown their sorrows by buying the latest items from her clothing line. Only problem is, they're short on cash, so they take on what should be a quick and easy routine hit, only to end up in a situation that's far more complicated than it first appears.
This one had a lot of potential. It could have basically been a far more girly and childlike (but still awesome) take on what a standalone Hit-Girl film might be like. Instead, it's, as I mentioned, a really uneven mess. It's also fairly dull, dumb, and honestly, a tad boring. At least it's only 88 mins.
Even then, I found it a chore to sit through. The film just doesn't really know what it is, and it feels like it can decide on if it should veer more towards surreal camp, or if it should be a tad more serious. It attempts to do all of this, and yeah, it falls flat.
It also comes off as oddly dated and out of place, like it should have been made circa 1995 instead of 2013. Yeah, it's trying to be 'cool' in that post-Pulp Fiction kind of vein.
It doesn't work too well in that regard either. Also, I think ALexis Bledel's attempts to act like a giddy teen make her seem kinda not right in the head. Both she and Ronan struggle to nail down the varying facets of their characters. But maybe it's not their fault. Maybe they're trying their best, and it's Fletcher who screwed up as the writer.
Yeah, I really didn't like this, and I'm disappointed because I really wanted to. WHat keeps me from hating it more are two things. 1. The appearance of James Gandolfini as the target of the girls's latest hit, and the appearance of John Ventimiglia, who, like Gandolfini, is a Sopranos Alum. If the actor's name doesn't ring a bell, he played Artie Bucco, owner of (Nuovo) Vesuvio's. Yeah, not even an all too brief appearance by Danny Trejo can help this out too much. And even with Gandolfini, I felt like his performance was too good for this, and would have been better suited to a stronger film.
I will say that the cinematography is decent, and, in theory, so is the film's concept.
It's just a shame that it's execution fails to hit the mark.
Young. Innocent. Deadly.
Good Movie! Although we appreciated the film, I had trouble understanding to whom exactly the target audience would be for the film upon its release. It is too violent to be marketed to the younger crowd. And it has too many comic book type elements to appeal to an older demographic that might have a hard time understanding how and why so many genres intertwine throughout the story. We ourselves loved the film. We were able to extract the humour and the violence separately and enjoyed the overall story. The two leads were innocently conflicted and their views and impressions on life and their past were engrossing tales that connected audiences with their characters. Violet & Daisy might not be the film that everyone wants it to be, expects it to be or maybe even should be, but it was an enjoyable hit man comedy that can take its place amongst the In Bruges of the film world.
Two teenage assassins accept what they think will be a quick-and-easy job, until an unexpected target throws them off their plan.
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