When is violet and daisy coming out

The fast bonding they do with Michael and the introspection that triggers does as well. When one of them has to buy more bullets, things become deadly, and not in a good way.

Ronan is good at shifting between killer and kid. Former Los Angeles Times film critic Betsy Sharkey is an award-winning entertainment journalist and bestselling author. She left the newsroom in All Sections. They take the job to get money to buy dresses. The second job is to kill one guy who stole some money from someone higher in their organisation. Their target shows up late, after they take a nap.

They try shooting him with their eyes closed. He's in the kitchen making oatmeal cookies for them. Oh, my. He is dying anyway, and hopes they go ahead with their job. There is a lot of talk among Violet, Daisy, and their target. This is coupled with a number of odd incidents like the shootout at the hardware store that are interspersed with the ongoing conversation. Iris drops by to nudge the girls forward. Will the girls finally finish the job, stay out of jail, and go on with their shallow lives?

She's best friends with a girl who just turned 18? I'm sure they did what the auteur asked of them, and they certainly did it well. Ronan, on the other hand, is an actor I can count on to deliver a disappointing performance. Absurd and surreal set the stage. There was not enough story to fill the 88 minutes. The theoretical side of me saw that many of the lines were meant to be humorous, but I did not find myself laughing or even smiling. This is a really difficult movie to review, since it doesn't neatly fit into any category.

I like odd movies, and this one certainly qualifies. It starts out seeming to be a black comedy about teenage girl hired killers, but as it develops it eventually morphs into a poignant story.

Everything about this movie is quite unrealistic, yet I personally didn't find it very hard to suspend disbelief and just go with it although, admittedly, I was very tired and particularly susceptible when I watched it. The two lead characters developed depth as they confronted the problem of killing someone that they really don't want to kill.

I don't want to give anything away, so I'll just say that this movie is strange and unusual, well-filmed and well-scripted, and, at least to me when I happened to watch it, also quite moving. My advice is that if this weird mix sounds like it might be interesting, the runtime is really short, so go ahead and give it a try, since the commitment isn't great.

The two 'heroines' of this piece make for the most unconvincing hitpeople I've ever seen in any media, but that isn't really the point. The fact is, this is supposed to be a JOKE We're meant to find their quirks endearing too, I guess But, does it work? Not in the slightest. The dialogue is self-consciously wacky, to a degree that we KNOW we're not watching flesh and blood individuals, but characters dreamed up by a bad scriptwriter that lack any validity whatsoever.

People come and go, either being shot by our feisty duo or uttering a few lines before disappearing for good. They all have one thing in common though: never doing anything or saying anything remotely interesting, in what is a tedious slog of a motion picture which will be testing the strength of your eyelids from the get-go. The late great James Gandolfini plays their latest victim, a terminally ill crook who seems remarkably at peace with his fate.

In a better written film, his conversations of life and love with the girls might have been moving passages. Instead, they come across as forced and unemotional garbage, and because they take up most of the length, only add to the feeling you could be doing something much better with your hollow life. In fact, with three characters named after flowers Daisy, Violet, Rose all we needed was a Hyacinth to complete the Bucket Sisters from the classic sitcom Keeping Up Appearances.

Useless trivia, I know. But FAR more intriguing to dwell on than anything else in this snore inducing cure for insomnia. The scene definitely captures your attention and due to the amount of bullets that it takes to bring down each of the men shooting back one can easily be forgiven if you thought the movie was some kind of comical or supernatural film where there is hardly enough bullets to bring down a single encroacher.

But then the film takes us in a different direction. We watch these two young girls Daisy just celebrated her 18th birthday as they jump around on their bed, play patty cakes and lust over a dress in the Barbie Sunday fashion line Barbie is some kind of fictional recording artist.

Needed money to buy the dresses they found in a magazine, the two hit girls take a job from Russ Danny Trejo to kill a man who has stolen from their boss. The two girls set out on the contract dressed as painters, but when they arrive at the target's apartment, he is no where to be found. The two girls then take a nap on the couch when Michael James Gandolfini appears and puts a blanket over the two snoozing killers. When they awake, they are confused as to why Michael would show them kindness when they have been contracted to kill him.

This confusion, and with a break for milk and cookies, will be the center of the film as the two girls particularly Daisy develop a relationship with the man and cannot bring themselves to complete the contract. Michael is a willing participant in the killing. He does not fear death and is estranged from his daughter. Michael then stole from two different crime bosses in hopes that the monies would be given to his only kin.

This will then unravel a story where each of the three main characters will dig deep into their own emotions and backgrounds to reveal the persons they have been repressing. And as the girls struggle with their lack of bullets to complete the job and with another rival gang en route to kill Michael, Fletcher unleashes an interesting character study that is as awkward as it is rewarding.

Bledel and Ronan look like a young Zooey Deschanel and Lindsey Lohan and interact with each other with a believable innocence. Gandolfini has never been better on film.

He commands a presence even while just rolling his eyes and sitting on his favorite chair, but he is perfectly cast as the determined Michael. The depiction of adolescence with the injection of moments of deafening gunplay lead to an uneven balance. Although we appreciated the film, we 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.

Tad stupid. Thought at first it was gonna be great. The whole apartment consuming the movie just went South. But it was decent. An error has occured. Please try again. Create a list ». Movies I want to see. Lucy's Film Recs: Hidden Gems. See all related lists ». Share this page:. Director Geoffrey Fletcher. Geoffrey Fletcher. Top credits Director Geoffrey Fletcher. See more at IMDbPro. Trailer Theatrical Version. Photos Top cast Edit.

Saoirse Ronan Daisy as Daisy. Alexis Bledel Violet as Violet. Danny Trejo Russ as Russ. Marianne Jean-Baptiste Number 1 as Number 1. Lynda Gravatt Dolores as Dolores.

Tatiana Maslany April as April. John Ventimiglia Man 1 as Man 1. Stu 'Large' Riley Man 2 as Man 2. Neville Archambault Man 3 as Man 3. Danny Hoch Man 4 as Man 4. More like this. The previously-mentioned cookie scene only works because Violet and Daisy decided to close their eyes before leaping into the room and firing at their target -- another acknowledgement that they're overgrown girls, or emotionally arrested young woman, and that this is all a big game to them, no matter how hardboiled Violet acts.

It's that kind of movie -- Tarantino by way of " Juno " or " Son of Rambow ", childlike yet knowing, packed with bright, jumbled production design and mournful atmosphere, and sadly lacking soul. Daisy, we're told, is all of eighteen, but has the sexual sophistication of a nine-year old, and Violet isn't much older. Violet is worried that Daisy can now be tried as an adult, should she ever be prosecuted for her crimes.

But to what, exactly? The hit girl character from " Kick-Ass ", perhaps? Or Sissy Spacek's morally arrested woman-child character in " Badlands ," who enabled her boyfriend's murder spree?

Or something or someone else that, for whatever reason, just isn't coming across onscreen? The film's writer and director, Geoffrey Fletcher , won a screenwriting Oscar for adapting 's "Precious. This work doesn't lack for conviction. The filmmaker obviously knows why he's showing us certain things, and in a certain way. And yet none of gels into an emotionally or philosophically coherent experience, and the tone is so muted that the whole picture seems to have recently recovered from a botched facelift that made it inexpressive, like a mask.