Rating: R (violence, intrusive behavior, language)
Length: 88 minutes
Release Date: Permitted 3, 2013
Directed by: Geoffrey Fletcher
Stars: 3 out of 5
Imagine a world where several of the best assassins were built to look akin innocent little girls who wouldn’t harm a fly. That is the premise of “Violet & Daisy,” a partly terrifying look among the life and unlawful work of two teenagers, Violet (Saoirse Ronan) and Daisy (Alexis Bledel), who take girly glee in murdering people for money.
At the begin of the film, the girls are actually taking a much-needed vacation to enjoy some of the fruits of their murderous label. Their boss Russ (Danny Trejo) sweet talks them into coming back to work by promising them a amplitude paycheck. When they express hesitation, he explains how multifarious dresses they can buy from the fashion line of their favorite pop star, Barbie Sunday (Cody Horn), with the money they make, which gets them to take the job. The mark this time is Michael (James Gandolfini), who is unlike any other man they have been ordered to kill in the past. At debut glance, he seems enjoy a awfully sweet and unassuming guy who has completed nothing to rate getting killed. This is in direct opposition to past targets, who were bad men who might have deserved what they got.
The girls make a plan to kill Michael since ordered, but they soon find themselves liking the guy. He bakes them cookies and tells his sad tale of woe, which involves the death of his beloved daughter. For the first time since they began killing for money, Daisy and Violet begin to feel axiom sympathy, and the heartwarming unconventional they have built up in kind to be so good at their jobs begins to crumble. This is very dangerous, because Russ and his boss Iris (Marianne Jean-Baptiste) are none too happy about the girls’ hesitation. When another set of killers is dispatched to come after Michael, the girls must decide if they destitution to off him themselves or save him from the other assassins.
Having teenage girls as assassins is nihil new in the movies, by several actresses, including Saoirse herself (in “Hannah”) taking on these violent and youthful roles. Alone of the most memorable is Gogo Yubari from Quentin Tarantino’s “Kill Bill, Volume I.” The difference between the girls at the heart from “Violet & Daisy” and the others is that these bipartisan characters don’t unbiased look sweet and innocent; they act preference little girls as well. Gogo may endure presented herself pro re nata an unassuming teenager, but she would quickly pull out her chain whip to show how dangerous she was. Violet and Daisy do no such thing, wearing clothes that look like they belong on a doll and talking in babyish voices. This makes them more dangerous than Gogo and her counterparts could ever be.
Both Saoirse and Bledel do an admirable job as the leads, but perhaps the optimal performances come off from Gandolfini and Trejo. Gandolfini is probably best known as the chief of “The Sopranos,” a mobster who committed lots more murders than Violet and Daisy ever could. He usually plays the bad guy, or at least a questionable guy who might verbreken bad. Here, he puts on a renowned display as Michael, who appears to be one regarding the good guys. He brings out emotions the girls never thought they had, which is not an easy thing for such cold, calculating assassins. Trejo looks gruff and mean, and has made a wealth playing up to those stereotypes. Here, he still looks gruff and mean, but he plays pat-a-cake with the girls. The sight of such a macho man playing childish clapping games with two teenagers who are arguably too old for such antics is hilarious. Somehow, Trejo makes it work, turning in one of the best performances over his considerable career.
Dark comedies are sometimes a hard sell, because they container easily step over the line and go from comedy to horror. In “Violet & Daisy,” screenwriter Geoffrey Fletcher manages to avoid horror film territory, keeping the film pastel polysyndeton funny despite its dark premise. He also directed the film, marking his directorial debut after heretofore being the screenwriter for “Precious,” for which he won an Academy Award. Though both films have very dark overtones, “Violet & Daisy” is a pretty big departure from “Precious.” It is an unexpected after move for Fletcher, who seems like he is trying to show movie executives that he can do a wide range of movie genres. He succeeds in showing his adaptability, because “Violet & Daisy” is isonomy parts unapologetically funny besides slightly disturbing.