HollywoodChicago.com RSS   Facebook   HollywoodChicago.com on Twitter   Free Giveaway E-mail   

Film Review: Stylish ‘Violet & Daisy’ Wastes Talented Cast

Printer-friendly versionPrinter-friendly versionE-mail page to friendE-mail page to friendPDF versionPDF version
No votes yet
HollywoodChicago.com Oscarman rating: 1.5/5.0
Rating: 1.5/5.0

CHICAGO – The premise of “Violet & Daisy” and the three actors at its center leave so much room for hope. That room slowly dissipates over the course of the film like air leaking out of a tire. Really? You’ve got this cast with this concept and this is the best you can do? Overly stylized to the point of suffocation, “Violet & Daisy” is the kind of tragic misfire that you just know must have been apparent while it was being made. 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. Don’t see “Violet & Daisy” unless you want to feel bad for Alexis Bledel.

Written & directed by Oscar winner Geoffrey Fletcher (“Precious: Based on the Novel Push by Sapphire”), “Violet & Daisy” may have fit more snugly in the national consciousness in the mid to late ‘90s when every auteur on the planet was trying to fine tune that draft about hired killers due to a little movie called “Pulp Fiction.” The title refers to two hitwomen, a pair of young girls (and they really are “girls” in the sense that they lie on the bed and swoon over the latest pop star’s fashion and bounce up and down like on a bed but on the bodies of people they whacked) named Violet (Bledel) and Daisy (Ronan). They wear the number 8 and 9 on their outfits, respectively, to mark their position on the hit charts.

StarRead Brian Tallerico’s full review of “Violet & Daisy” in our reviews section.

The film opens with the pair, heading to a hit dressed as nuns with pizza boxes (because THAT’S a sane cover) while Violet tells Daisy a bad joke that she doesn’t get. Immediately, one can sense that this is a film that doesn’t take place in the real world. It’s a film that only exists because of other superior films like it. Fletcher isn’t remotely interested in defining Violet & Daisy as characters. They’re hipster cinema clichés. Where did they work before they became killers? The doll hospital. Because that sounds clever. Not because it makes a lick of sense.

Violet & Daisy get an assignment from “Boss” to go kill a guy (Gandolfini) who has stolen from their employer. They arrive early to his place and promptly, as you know killers have never done, fall asleep. When they wake up, their intended target hasn’t taken their guns. He’s just sitting across from them, waiting for the inevitable. This throws Violet & Daisy. The rest of the film is essentially a long conversation (with a few flashbacks and asides) between Violet, Daisy, and a man who becomes something of a father figure given his desire to atone with his own daughter that will now go unfulfilled and two girls clearly in need of some paternal guidance.

StarContinue reading for Brian Tallerico’s full “Violet & Daisy” review.

“Violet & Daisy” stars Alexis Bledel, Saoirse Ronan, and James Gandolfini. It was written and directed by Geoffrey Fletcher. It opens on June 7, 2013.

Violet and Daisy
Violet and Daisy
Photo credit: Cinedigm

Post new comment

The content of this field is kept private and will not be shown publicly.
This question is for testing whether you are a human visitor and to prevent spam submissions.
84 - = 58
Solve this math question and enter the solution with digits. E.g. for "two plus four = ?" enter "6".

User Login

Free Giveaway Mailing


  • Cher Show, The

    CHICAGO – Cherilyn Sarkisian… yes, that is her birth name… is the redoubtable Cher, and it’s perfect timing for her to have a jukebox musical tribute. “The Cher Show,” covering three eras/songs of the six-decade career of Cher, opens for a Chicago preview before its Broadway run, from June 12th through July 25th, 2018.

  • ThroatPunch

    CHICAGO – The provocative title of Sharon Krome’s new stage play, “ThroatPunch,” does not contain that particular fight technique. But it does have standout performances by the three person cast, as they make their way in Chicago, circa 1983, amid their emerging twentysomething punk rock attitude. The World Premiere of the show has a Thursday-Sunday run at the Chicago Mosaic School through June 3rd, 2018. Click here for more details, including ticket information.


HollywoodChicago.com on Twitter


HollywoodChicago.com Top Ten Discussions