Violet & Daisy (A PopEntertainment.com Movie Review)
Violet & Daisy
Violet & Daisy
The idea behind Violet & Daisy is just crazy enough that it may work as a terrific social satire, if only the screenwriter and first-time director Geoffrey Fletcher (who is best known for his Oscar-winning screenplay on the very, very different Precious) had figured out exactly what he wanted to say with his idea. Or even if he figured out anything that he wanted to say with his idea.
This is the story of the titular characters, two chatty but slightly vapid young women (they both seem to be in their early 20s, though Alexis Bledel is 31 and Saoirse Ronan is 19 so it’s hard to get a peg on their ages). Violet (Bledel) and Daisy (Ronan) are besties, share an apartment, obsess on a pop star and make a living as the world’s quirkiest and cutest hit women. Literally, we meet them on the job and they are disguised as pizza-delivering nuns. They ride to their gigs on a tricycle. They have Hello Kitty-cute discussions about everything from fashion to boys to dreams to munitions, leaving behind blood-stained corpse-ridden apartments in their wake.
Like I said, it’s just fucked up enough that it could work.
Sometimes it even does hit the mark, but the amusing aspect of this one-note joke concept doesn’t last nearly as long as the rather short running time of 88 minutes.
In fact, it turns out that the great majority of the film ends up being a three people trapped together in an apartment. This limited scope could potentially either make the film unbearably tense or bring the film’s faults into sharp focus. It turns out that it does both things.
This huge chunk of the movie is when Violet and Daisy get a gig to wipe out Michael (James Gandolfini), a good-hearted and likable schlub who has decided to commit suicide by hit man, pissing off some mob types in the hope of having a hit put out on him.
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