Ryan McNeil
It’s interesting to watch someone go in a different direction. Take Geoffrey Fletcher for example.
Fletcher is the Oscar-winning screenwriter who adapted PRECIOUS for the big screen. If you’ve seen that film, you’ll likely not soon forget its attention to social issues, human drama, and its overall gritty tone. If you watched it and thought to yourself “Gosh – I bet this writer could pen a really swell assassin movie!” then congratulations – you’re a much better lateral thinker than I,
Written and directed by Fletcher, VIOLET & DAISY is the story of two young assassins played respectively by Alexis Bledel and Saoirse Ronan. In slight “Charlie’s Angels” fashion, the girls are sent to carry out hits by a boss who we never see. They are remarkably good at what they do, and when they’re not mowing down entire flats of thugs, they’re very sisterly girly girls. They idolize a pop star style icon, they jump on the bed, they make cupcakes…anything and everything to wash away the ugliness by which they make their means.
One morning they’re sent to carry out a hit on a guy named Michael (James Gandolfini), who is a mark that finally gives them pause. He’s interested in getting to know the girls as people, making them cookies and offering milk, and being a gracious host to the unexpected guests there to waste him. In short, he’s just too accommodating and understanding to kill.
This movie comes with a script that truly crackles with its dialogue and style. While Hit Girl might have forever raised the bar for young female assassins dismatling a room of would-be killers, Violet and Daisy are still able to do what they do best with style and thrills. When we’re first introduced to them, they are dressed as nuns delivering pizza. The film is cheeky enough, not only to conceal their guns in the pizza boxes, but to actually have Violet’s bubblegum bubble burst as she fires off a gunshot.
The film might be missing a bit of the gravitas to truly elevate it to something extraordinary, but it’s so glossy, well-paced and smart that I’m not sure gravitas matters. James Gandolfini has seldom been better than he is here as the kind-hearted mark Michael. He speaks with Violet and Daisy both with a dead man’s sadness, and a father’s love. Alexis Bledel goes back to what she did well in SIN CITY, further shedding the remnants of Rory Gilmore, and Saoirse Ronan continues to show that what she gave us in films like HANNA and ATONEMENT were no fluke.
At press time, VIOLET & DAISY has yet to be picked up by a distributor, so I’m not certain when or if it will ever get any theatrical play. However, with girl-power films like this being very much needed on screens, and with the wittiness that this particular one brings, one can only hope that some studio snaps it up quick, so that these two tiger lilies get their moment in the sun before they wilt.
Bledel and Ronan as assassins? Yes please.
Same here!!!!
I had it on my watchlist already, but I never paid attention to the name of the director/writer. I’m shocked it’s by the one who adapted Precious. It seems not that dark, if I got it right from your review? And I’m really glad that you speak favorably of it.
It’s not dark at all – quite the opposite actually, which makes it a lot more palatable. I’d guess that it’ll get play in 2012, so do keep an eye out for it.
I’m glad you liked it. I’m unsure what to make of it since most of the general audience at TIFF liked it, like really liked it, but most if not all critics that saw it gave it mediocre reviews at best. Not sure what gives. Maybe different expectation after seeing a list of Oscar potentials? Too absurd? More refined tastes in said critics? I have so many questions on the overall consensus about this film since it seems the one of the most original out of all TIFFs lineup.
Also, Ryan, if “V&D” gets a distributor which one will pick it up?
Welcome to The Matinee Jill!
I’m not entirely sure what the critics who disliked it wanted from it. Admittedly, the film is not what I’d call “weighty”, but it never poses as such. It could just be that in a film festival atmosphere people are looking for profundity, but to overlook a script with dialogue that plays the way this dialogue plays is a disservice.
You mention originality…I’m not sure how original it is. I can see traces of a lot of other properties within it, but it brings them together with an alchemy all its own.
As for who might pick this up, I’m not certain. Sorta seems like something Lionsgate would like. Here’s hoping it gets some play!
This film just kinda pissed me off, what a squandered opportunity with its garbage moralizing and truly awful screenplay. SHAME on everyone involved (except for the production designer, if there is one good thing about this film, it’s how good it looks .)
PUKE!
C’mon man, I know you weren’t a big fan…but it had some snappy dialogue going on at least. Plus you gotta give it points for a certain dance I’d rather not spoil.
That’s fine if you didn’t like it, but to proclaim “SHAME on everyone involved” is a bit unwarranted. You act like you got slapped in the face. It’s very unique and more original than most of the films that were well received. I bet the actors involved saw a script that was different, a unique one so they signed on. Reading a script aloud, filming scenes, and seeing the edited version is a total different experience. An actor doesn’t know how the film will turn out. I wouldn’t be surprised if Fletcher’s debut film will turn into a cult classic. Mark my words.
(Welcome to The Matinee Kevin)
Knowing Kurt the way I do, I don’t think he meant “SHAME!!!” in the way it comes across in his comment.
But good on ya to rally to this movie’s defense.