An American girl, sent to the English countryside to stay with relatives, finds love and purpose while fighting for her survival as war envelops the world around her.
A sixteen-year-old girl who was raised by her father to be the perfect assassin is dispatched on a mission across Europe, tracked by a ruthless intelligence agent and her operatives.
The doll hospital patron is played by Bettye Fletcher, Geoffrey S. Fletcher's real life mother. See more »
Goofs
On her first trip for bullets, Violet gets a call from someone with directions to the "closed" hardware store. As a paranoid professional assassin, she does not wonder who it is or how the person knows what she is looking for, how they know exactly where she is and what she is doing at that exact moment. See more »
Quotes
[first lines]
Daisy:
[seeing cancelled posters]
What are we going to do now?
Violet:
I'll think of something.
Daisy, Violet:
[cut to them carrying pizzas boxes in Nun outfits]
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Crazy Credits
There is a mid-credits scene that depicts a group of young girls performing "surgery" on dolls and stuffed animals in a doll hospital. See more »
I had great expectations for this movie. I mean, how could you miss with the great James Gandolfini and wonderful Saoirse Ronan as headliners (and Alexis Bledel is certainly eyeworthy), and yet the first time through this film I did not enjoy the experience. Then it dawned on me, well, duh, this film is intended to be a Tarantino parody, and it went up several stars in my estimation. Of course, making a parody of a QT film is problematic, because Quentin films are already parodies of other genres such as kung fu, grindhouse, and noir. And so, in a sense, the filmmaker is making a parody of a parody. I mean, Saoirse playing patty-cakes with Danny Trejo? The scene is totally Quentinesque to a ludicrous extreme. And that's parody.
Other motifs that echo and exaggerate Tarantino's style include the implausible violence sequences that can only exist in some alternate film universe (think Black Mamba single-handedly wiping out a small army of yakuza in "Kill Bill,") and the interminable gabfest that fills out a QT script (these people love to talk and talk and talk)... And so, as a parody of a parody, and for its very impressive cast, this film is worth an amused watch.
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I had great expectations for this movie. I mean, how could you miss with the great James Gandolfini and wonderful Saoirse Ronan as headliners (and Alexis Bledel is certainly eyeworthy), and yet the first time through this film I did not enjoy the experience. Then it dawned on me, well, duh, this film is intended to be a Tarantino parody, and it went up several stars in my estimation. Of course, making a parody of a QT film is problematic, because Quentin films are already parodies of other genres such as kung fu, grindhouse, and noir. And so, in a sense, the filmmaker is making a parody of a parody. I mean, Saoirse playing patty-cakes with Danny Trejo? The scene is totally Quentinesque to a ludicrous extreme. And that's parody.
Other motifs that echo and exaggerate Tarantino's style include the implausible violence sequences that can only exist in some alternate film universe (think Black Mamba single-handedly wiping out a small army of yakuza in "Kill Bill,") and the interminable gabfest that fills out a QT script (these people love to talk and talk and talk)... And so, as a parody of a parody, and for its very impressive cast, this film is worth an amused watch.