Opening

19% Transcendence Apr 18
53% Heaven Is for Real Apr 16
7% A Haunted House 2 Apr 18
88% Bears Apr 18
58% Fading Gigolo Apr 18

Top Box Office

89% Captain America: The Winter Soldier $41.3M
47% Rio 2 $39.3M
71% Oculus $12.0M
62% Draft Day $9.8M
77% Noah $7.6M
41% Divergent $7.4M
13% God's Not Dead $5.5M
92% The Grand Budapest Hotel $4.1M
79% Muppets Most Wanted $2.3M
78% Mr. Peabody & Sherman $1.9M

Coming Soon

40% The Other Woman Apr 25
—— Brick Mansions Apr 25
72% The Amazing Spider-Man 2 May 02
100% Neighbors May 09
—— Godzilla May 16

Premieres Tonight

100% Orphan Black: Season 2

New Episodes Tonight

100% Da Vinci's Demons: Season 2

Discuss Last Night's Shows

—— Continuum: Season 3
100% Hannibal: Season 2
—— Hart of Dixie: Season 3
—— Last Man Standing: Season 3
—— Unforgettable: Season 3

Violet & Daisy (2013)

tomatometer

18

Average Rating: 4.8/10
Critic Reviews: 17
Fresh: 3 | Rotten: 14

No consensus yet.

audience

38

liked it
Average Rating: 2.9/5
User Ratings: 2,464

My Rating

Movie Info

Violet (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.

Nov 19, 2013

$10.0k

Cinedigm Films - Official Site External Icon

Watch It Now

ADVERTISEMENT

Friend Ratings

No Friends? Inconceivable! Log in to see what your friends have to say.

All Critics (48) | Top Critics (17) | Fresh (11) | Rotten (37)

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 ...

June 11, 2013 Full Review Source: Chicago Sun-Times
Chicago Sun-Times
Top Critic IconTop Critic

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.

June 7, 2013 Full Review Source: Chicago Sun-Times
Chicago Sun-Times
Top Critic IconTop Critic

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.

June 7, 2013 Full Review Source: Washington Post
Washington Post
Top Critic IconTop Critic

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.

June 7, 2013 Full Review Source: Newark Star-Ledger
Newark Star-Ledger
Top Critic IconTop Critic

A rather dull affair.

June 7, 2013 Full Review Source: New York Post
New York Post
Top Critic IconTop Critic

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.

June 6, 2013 Full Review Source: New York Times
New York Times
Top Critic IconTop Critic

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.

February 18, 2014 Full Review Source: Common Sense Media
Common Sense Media

Alexis Bledel and Saoirse Ronan are way too good for material as obnoxious as this.

December 5, 2013 Full Review Source: Cinema Crazed
Cinema Crazed

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.

November 26, 2013 Full Review Source: Canada.com
Canada.com

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.

June 18, 2013 Full Review Source: IGN Movies
IGN Movies

Neither as writer nor as director is Fletcher able to sustain his conceit.

June 16, 2013 Full Review Source: One Guy's Opinion
One Guy's Opinion

While the concept has potential, it becomes an exercise in shallow gimmickry that never captures the right tone to generate either laughs or suspense.

June 13, 2013 Full Review Source: Cinemalogue.com
Cinemalogue.com

A fluffy excuse for random violence is saved by ethereal performances by Saoirse Ronan and James Gandolfini.

June 9, 2013 Full Review Source: Monsters and Critics
Monsters and Critics

A movie can stick with genre basics if it has fun doing so, but Violet & Daisy lacks the freewheeling spirit of great B movies.

June 9, 2013 Full Review Source: amNewYork
amNewYork

Subversive, bold and fresh. A guilty pleasure in spite of its uneven tone.

June 8, 2013 Full Review Source: NYC Movie Guru
NYC Movie Guru

Violet & Daisy is a cool movie. It's strange and ambitious and affecting and extremely well-acted throughout a thoroughly esoteric script.

June 7, 2013 Full Review Source: TV Guide's Movie Guide
TV Guide's Movie Guide

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.

June 7, 2013 Full Review Source: HollywoodChicago.com
HollywoodChicago.com

Clever for a little while, but turns irritating halfway through.

June 7, 2013 Full Review Source: Television Without Pity
Television Without Pity

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.

June 7, 2013 Full Review Source: Film School Rejects
Film School Rejects

It wants to be "Clueless" meets Gregg Araki, but it has far less on its mind than the former teen classic and not nearly enough provocative material to match the latter indie director's sensibilities.

June 6, 2013 Full Review Source: DustinPutman.com
DustinPutman.com

Audience Reviews for Violet & Daisy

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.
March 17, 2014
cosmo313
Chris Weber

Super Reviewer

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.
January 17, 2014
MANUGINO
Manu Gino

Super Reviewer

It's not often that I say this but... what the hell did I just watch? I know it's a movie called Violet & Daisy, written and directed by Geoffrey Fletcher, the man who won a screenwriting Oscar for adapting Precious. But what is this? It is some meta commentary on film violence? A twisted fairy tale? A dark comedy? Whatever it is, I know for certain that it was not very good or entertaining.

Violet (Alexis Bledel) and Daisy (Saoirse Ronan) are teenagers who also work as hired assassins by their boss, Russ (Danny Trejo). Their next assignment has a personal angle: Michael (James Gandolfini) stole a large sum of money from Russ. The gals hide out in Michael's apartment only to fall asleep. When they wake up, Michael is sitting there, accepting his fate, begging the girls to complete their job. He's dying from terminal cancer, estranged from his daughter, and hoping to exit this world on his own terms. Over the course of one long afternoon, the gals run into rival gangs, a trained sniper, police, neighbors, and all sorts of other plot contrivances to delay the death of Michael.

If you're like me, with similar expectations when it comes to your moviegoing experiences, you'll be left scratching your head and fumbling for some kind of rationale why people decided to make a film like Violet & Daisy. It feels instantly dated, relying upon the hook of young teen girls with big guns, you know, the same model that has translated to many a successful video game. More so than that, the aspiration, or at least direct inspiration, appears to be a Tarantino-knock-off. Not ripping off Tarantino, as many did in the mid-to-late 90s, but ripping off a poor Tarantino knock-off, like Two Days in the Valley or, the more adept comparison, The Big Hit. There is so much crap in this movie that exists merely because somebody thought it would look cool. Violet and Daisy open the movie dressed as pizza-delivering nuns (is this a fetish I am unaware of?) and open fire on a gang of criminals. But before their fateful gunfight, you better believe it, they have an innocuous conversation about something small, you know, like Jules and Vincent. Why are they dressed as nuns, let alone nuns delivering pizza? It doesn't matter. This is a movie that doesn't exist in a universe minutely close to our own. Everything about this film feels painfully and artificial. You know what previous job Violet and Daisy had? They worked at the "doll hospital," a literal ward for dolls. The decisions of this movie are driven purely by a stylized self-indulgent whimsy. Once you realize this, and you will, the movie becomes even more of a chore to finish.

Then there's the bizarre and sometimes uncomfortable infantilization of the female lead characters. These ladies do not act like adults; they don't even act like teenagers. Even though they're both over 18 years old, their behavior more closely resembles that of a flighty seven-year-old. Their speaking patterns are often in an annoying and partially creepy baby coo. They play paddy cake after successful hits. They ride tricycles. They chew bubblegum and blow bubbles during hits. They get excited about new Barbie Sunday dresses, and this is their real motivation for taking assassination jobs. Yes, to buy dresses. Then there's their game, the Internal Bleeding Dance, where they hop up and down on the chests of their dying victims, blood spurting out of their mouths, the girls giggling, as if they were bouncing on a bed at a slumber party. These women aren't remotely actual characters; they are masturbatory quirky hipster fodder, the ironically detached, sexy baby doll killer approximation. Except there is never any commentary at work. The depiction of Violet and Daisy as petite killers never approaches anything meaningful. They are killers because it's cool. They talk like lobotomized film noir archetypes because it's cool. This is quirk run amok, quirk with a gun and no purpose. I'm trying hard to ignore the obvious sexual kink undercurrents of the whole enterprise.

Even with all these flaws, perhaps Violet & Daisy could have been morbidly interesting, except that the circuitous plot twiddles its thumbs, padding out a half-baked story. This is a movie that takes its time and seems to go nowhere. Once the girls meet Michael, the plot has to come up with numerously lame excuses to delay Michael's execution. I kid you not, there are THREE instances where the girls run out of bullets and have to stop and walk back to the hardware store to go buy ammo. This happens. This is a thing that keeps the plot moving. It's like as soon as the main characters get into a room together, Fletcher has to struggle to come up with reasons why his narrative should still exist. So we get a second group that Michael stole from because this guy has an even bigger death wish. This second group of spurned bad guys is on their way. If Fletcher was going this route, he might as well gone whole-hog imitating Smokin' Aces and just had numerous crews all fighting over taking out this schlub first. It feels like Fletcher is making up the story as he goes, taking us on relatively pointless nonlinear interludes to pad the running time. The film, like Tarantino, breaks up the story into a series on onscreen chapters, though one of these only lasts like a minute. Then there's a loopy dream sequence. The narrative is so stagnant that whatever interest you may have had will long be gone. By the time the movie actually does end, at about 80 minutes, it has long felt creatively exhausted, totally gassed. Fletcher throws out all the stops to get across that finish line.

Even though it was filmed way back in 2010, it's hard to escape the morbid irony of Gandolfini (Enough Said) playing a character discussing his own inevitable death. He's the best actor in the film, offering a paternal warmth that goes wasted amidst all the stylistic nonsense. Our other two featured players, Bledel (TV's Gilmore Girls) and Ronan (The Host), have a sprightly chemistry together that works. I just wish all three actors had something to do rather than strike artificial poses and quip.

After enduring The Paperboy, and "enduring" is indeed the correct term, I was certain that the messy, tonally uneven, sometimes garish flights of fancy in Precious were due to director Lee Daniels. After enduring, and again "enduring" is the correct term, Violet & Daisy, I'm starting to think that Fletcher is deserves equal credit. Violet & Daisy is a curious exercise in twee indie hipness, suffused with quirk standing in place for characters, story, meaning, etc. It feels like the development stopped once the core concept of teen girl assassins was concocted. The off-putting childish nature of the adult girls, juxtaposed with the baby doll sexuality of the film, makes for an uncomfortable watch. To call the film bad taste is too easy. Whether this is a bizarre dark comedy, a whacko modern fairy tale, or whatever term you want to apply to justify the artificial excesses and emptiness, Violet & Daisy is a contrived mess that labors to fill out a basic feature running time, often doubling back and delaying. There isn't a story here, more just an incongruent, irregular style. If you're content with a knockoff of a Tarantino knockoff, with an extra dose of whimsy, then enjoy Violet & Daisy and you can dance your cares away atop bleeding bodies.

Nate's Grade: D+
December 7, 2013
boxman
Nate Zoebl

Super Reviewer

Basically a light, character driven, "Pulp Fiction". It could have been absolutely awful affair if not for stellar performances by Gandolfini, Ronan and at times, even Bledel.

This ultra comical premise is thoroughly contrasted through a series of dark themes and complex character study. The setting may have alluded to a violent action fest but in the end it's a bitter sweet tale about a dying man and the meaning of friendship (or at least what it means for a couple of teen killers)

Despite its somewhat derivative style of Tarantino's it kind of works as a sincere character drama but only as far as your interest in the protagonists would take you in the first place.
November 12, 2013
Drake Tsui

Super Reviewer

    1. Daisy: She once killed three ninjas...with a fingernail.
    – Submitted by Alain L (3 months ago)
View all quotes (1)

Discussion Forum

Discuss Violet & Daisy on our Movie forum!

What's Hot On RT

Critics Consensus
Critics Consensus

Transcendence is a Sci-Fi Snooze

Total Recall
Total Recall

Johnny Depp's Best Movies

24 Frames
24 Frames

Picture gallery of movie bears

Good Friday
Good Friday

50 movie posters gallery

Summer Movies
Summer Movies

10 most anticipated blockbusters

Latest News on Violet & Daisy

June 6, 2013:
Critics Consensus: The Internship Could Use Some Work
This week at the movies, we've got entry-level hilarity (The Internship, starring Vince Vaughn and...
Find us on:                 
Help | About | Jobs | Critics Submission | Press | API | Licensing | Mobile