6.1/10
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Violet & Daisy (2011)

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Two teenage assassins accept what they think will be a quick-and-easy job, until an unexpected target throws them off their plan.

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Cast

Cast overview, first billed only:
... Daisy
... Violet
... The Guy
... Number 1
... Russ
Lynda Gravatt ... Dolores
... April
... Barbie Sunday
... Man #1
... Man #2
... Man #3
... Man #4
... Kidnapped Man
... Desk Officer
... Hardware Store Cashier
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Storyline

Two teenage assassins accept what they think will be a quick-and-easy job, until an unexpected target throws them off their plan.

Plot Summary | Add Synopsis

Taglines:

Young. Innocent. Deadly. (Germany) See more »


Motion Picture Rating (MPAA)

Rated R for violence, disturbing behavior and language | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

6 June 2013 (Israel)  »

Also Known As:

Vajolet i Dejzi  »

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Box Office

Budget:

$8,000,000 (estimated)

Opening Weekend USA:

$9,982, 7 June 2013, Limited Release

Gross USA:

$17,186, 13 June 2013
See more on IMDbPro »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Bruce Willis was considered for the role of The Guy before James Gandolfini was cast. See more »

Goofs

When Violet and Daisy are shooting The Guy with their eyes closed Daisy fires about 8 shots with the slide on her gun locked back indicating that the magazine is already empty. See more »

Quotes

[first lines]
Daisy: [seeing cancelled posters] What are we going to do now?
Violet: I'll think of something.
DaisyViolet: [cut to them carrying pizzas boxes in Nun outfits]
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Crazy Credits

There are no opening credits for the film. See more »

Connections

References Daisies (1966) See more »

Soundtracks

When Will I See You Again
Written by Kenny Gamble & Leon Huff
Performed by The Three Degrees
Courtesy of Epic Records
By arrangement with Sony Music Licensing
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Frequently Asked Questions

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User Reviews

 
A New Hope
26 August 2012 | by See all my reviews

As the Toronto International Film Festival approaches, the film I'm still thinking about from last year's TIFF is Violet & Daisy, Geoffrey Fletcher's fascinating directorial debut – a resonant tapestry of pulp, humor, tragedy and humanism.

Some have rushed to compare Violet & Daisy with other films featuring comely gun-toting young women such as Kick-Ass, Sucker Punch and Hanna. However, the aforementioned films differ greatly from Fletcher's offering in that they are pro-violent pieces of commerce whereas Violet & Daisy condemns violence through irony and artistry. It is a throwback to the daring American films of the 70's and 90's in both spirit and style while sampling bits of 50's and 60's world cinema (and surrealism). The result is a classically-informed modern mosaic.

Alexis Bledel, Saoirse Ronan and James Gandolfini, the three well-chosen and committed leads, are all playing against type in what may be the most interesting roles of their careers. Marianne Jean-Baptiste and Danny Trejo are also exceptional. Rising star Cody Horn appears briefly as a pop starlet. I found it odd to see such a diverse collection of talents working in harmony not only with one another but within this alternate universe.

In addition to its array of unexpected (and suspenseful) moments, the film meditates on friendship, girl power, materialism and regret. Throughout, Fletcher imbues striking compositions with symbolism while gracefully moving through a myriad of tones and genres. The use of music is extraordinary. All of these elements working in concert with the film's considerable humor and technical command create a singular experience. I have no memory of a recent independent film that was this daring, multi-layered and assured.

The film has yet to be reviewed widely but it is no coincidence that some of the most thoughtful early writing on it came days, not hours, after the first Toronto screening. Fletcher and his remarkable collaborators may have also provided us with a litmus (if not Rorschach) test for cinephiles and critics alike. All in all, perhaps a film this bold ought to polarize in an age of shrink-wrap cinema.

I remember how I first felt watching Godard's Breathless and Alphaville. They were so different from anything I'd ever seen that it was at first unsettling. Once I found a doorway into these new worlds, however, escape was impossible. I feel the same way about Violet & Daisy.


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