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It features excellent performances, a damn good script, and impeccabledirection.Violet & Daisy opens with a high angle shot. Daisy (SaoirseRonan, Hanna), a young woman, stepsinto frame, looking up, unhappy. And we see what it is upsetting her. Across aBarbie Sunday concert poster it says “Canceled.”She steps back, still looking, daring it to be true. Her friend Violet (AlexisBledel) joins her, and Daisy asks her, “Whatare we going to do now?” Violet says, “I’llthink of something.”The film then cuts tothem dressed as nuns holding pizza boxes, while “Angel Of The Morning” plays inthe background. The door to an apartment opens, and the two girls shoot theoccupants. This sequence is so well shot. The camera remains in the hallway,while we hear gunfire, and then suddenly the girls emerge with a man who’dapparently been kidnaped. The scene does not end there, and is deliciously,almost beautifully, gritty. The scene ends with the two women looking at eachother, and then the film’s title fills the screen. How’s that for an opener?The two women are thentaking a little vacation in their apartment, turning down a job and celebratingDaisy’s eighteenth birthday. Violet learns from a celebrity magazine thatBarbie Sunday has a new clothing line. They can’t buy the dresses because, asDaisy says, “We blew the money on rentagain.” So they of course are forced to take the job. Daisy says: “I can’t wait until we get the dresses.Things are going to change for us after that.”  What an endearingly demented view.All they know about theirtarget is that he stole a truck of cologne and some money from their boss, andthat his apartment door will be open as the landlord is on their team. Russ(Danny Trejo), after giving them these details, asks them if they’ve heardabout the new Barbie Sunday dresses, which is a cute, odd touch.This film is full ofwonderful touches like that, creating its own world, its own reality – andalthough this reality at first seems over-the-top, it soon becomes just asbelievable and real as our own reality.The next day their targetis not in his home when they arrive. There is a beautiful shot of the two ofthem backlit by his apartment window, as they listen to a message from a womanasking their target to leave her alone. They wait for the target, but fallasleep on his couch.  The target (JamesGandolfini) arrives, and gently puts a blanket over them. We see only his legsand his arms at this point, as he moves his chair so he’s opposite them and thenreads the paper. When they wake, he’s asleep on his chair. And that’s the firstshot of his face. There’s another nicely framed shot here – with the man in thecenter, and the girls’ guns on either side of him in the foreground. He tellsthem he’s been expecting them. They are unsettled by his demeanor, and the factthat he wants them to kill him (but they appreciate that he makes them cookies).The movie is funny andsweet and at times heart-breaking. And it’s a total surprise. There are timeswhen it seems like fantasy, and then other times when it hits you with a harshreality. For example, there is another hit squad after the same target, and welearn that those guys had assaulted previously Violet. This is serious subjectmatter, and you might think that a mix of tones like that wouldn’t work. Butthis film is so expertly crafted that we are very quickly completely engrossedits reality, and are ready for any direction it may go. It has a totally coolfeel right from the start, so then it comes as something of a surprise to findthe film has real substance. I certainly didn’t expect to find myself soemotionally invested in these characters (in all three of them), and in theoutcomes. There is also some truly demented stuff in this film, such as thegirls’ victory dance. But everything – the funny, the serious, the twisted, thesad – is excellent. This is a film I’m going to be revisiting often, andsharing with all my friends.Violet & Daisy was written and directed by Geoffrey Fletcher,who won an Oscar for his screenplay of Precious.The DVD includes a gallery of stills of posters for the film, as well as thetheatrical trailer.Violet & Daisy is scheduled to be released on DVD and Blu-rayon November 19, 2013 through Cinedigm. 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It features excellent performances, a damn good script, and impeccabledirection.Violet & Daisy opens with a high angle shot. Daisy (SaoirseRonan, Hanna), a young woman, stepsinto frame, looking up, unhappy. And we see what it is upsetting her. Across aBarbie Sunday concert poster it says “Canceled.”She steps back, still looking, daring it to be true. Her friend Violet (AlexisBledel) joins her, and Daisy asks her, “Whatare we going to do now?” Violet says, “I’llthink of something.”The film then cuts tothem dressed as nuns holding pizza boxes, while “Angel Of The Morning” plays inthe background. The door to an apartment opens, and the two girls shoot theoccupants. This sequence is so well shot. The camera remains in the hallway,while we hear gunfire, and then suddenly the girls emerge with a man who’dapparently been kidnaped. The scene does not end there, and is deliciously,almost beautifully, gritty. The scene ends with the two women looking at eachother, and then the film’s title fills the screen. How’s that for an opener?The two women are thentaking a little vacation in their apartment, turning down a job and celebratingDaisy’s eighteenth birthday. Violet learns from a celebrity magazine thatBarbie Sunday has a new clothing line. They can’t buy the dresses because, asDaisy says, “We blew the money on rentagain.” So they of course are forced to take the job. Daisy says: “I can’t wait until we get the dresses.Things are going to change for us after that.”  What an endearingly demented view.All they know about theirtarget is that he stole a truck of cologne and some money from their boss, andthat his apartment door will be open as the landlord is on their team. Russ(Danny Trejo), after giving them these details, asks them if they’ve heardabout the new Barbie Sunday dresses, which is a cute, odd touch.This film is full ofwonderful touches like that, creating its own world, its own reality – andalthough this reality at first seems over-the-top, it soon becomes just asbelievable and real as our own reality.The next day their targetis not in his home when they arrive. There is a beautiful shot of the two ofthem backlit by his apartment window, as they listen to a message from a womanasking their target to leave her alone. They wait for the target, but fallasleep on his couch.  The target (JamesGandolfini) arrives, and gently puts a blanket over them. We see only his legsand his arms at this point, as he moves his chair so he’s opposite them and thenreads the paper. When they wake, he’s asleep on his chair. And that’s the firstshot of his face. There’s another nicely framed shot here – with the man in thecenter, and the girls’ guns on either side of him in the foreground. He tellsthem he’s been expecting them. They are unsettled by his demeanor, and the factthat he wants them to kill him (but they appreciate that he makes them cookies).The movie is funny andsweet and at times heart-breaking. And it’s a total surprise. There are timeswhen it seems like fantasy, and then other times when it hits you with a harshreality. For example, there is another hit squad after the same target, and welearn that those guys had assaulted previously Violet. This is serious subjectmatter, and you might think that a mix of tones like that wouldn’t work. Butthis film is so expertly crafted that we are very quickly completely engrossedits reality, and are ready for any direction it may go. It has a totally coolfeel right from the start, so then it comes as something of a surprise to findthe film has real substance. I certainly didn’t expect to find myself soemotionally invested in these characters (in all three of them), and in theoutcomes. There is also some truly demented stuff in this film, such as thegirls’ victory dance. But everything – the funny, the serious, the twisted, thesad – is excellent. This is a film I’m going to be revisiting often, andsharing with all my friends.Violet & Daisy was written and directed by Geoffrey Fletcher,who won an Oscar for his screenplay of Precious.The DVD includes a gallery of stills of posters for the film, as well as thetheatrical trailer.Violet & Daisy is scheduled to be released on DVD and Blu-rayon November 19, 2013 through Cinedigm. 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UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;}Violet & Daisy, about two young hit women whose new targetcauses them to rethink things, is one of the best films I’ve seen in quite awhile. It features excellent performances, a damn good script, and impeccabledirection.Violet & Daisy opens with a high angle shot. Daisy (SaoirseRonan, Hanna), a young woman, stepsinto frame, looking up, unhappy. And we see what it is upsetting her. Across aBarbie Sunday concert poster it says “Canceled.”She steps back, still looking, daring it to be true. Her friend Violet (AlexisBledel) joins her, and Daisy asks her, “Whatare we going to do now?” Violet says, “I’llthink of something.”The film then cuts tothem dressed as nuns holding pizza boxes, while “Angel Of The Morning” plays inthe background. The door to an apartment opens, and the two girls shoot theoccupants. This sequence is so well shot. The camera remains in the hallway,while we hear gunfire, and then suddenly the girls emerge with a man who’dapparently been kidnaped. The scene does not end there, and is deliciously,almost beautifully, gritty. The scene ends with the two women looking at eachother, and then the film’s title fills the screen. How’s that for an opener?The two women are thentaking a little vacation in their apartment, turning down a job and celebratingDaisy’s eighteenth birthday. Violet learns from a celebrity magazine thatBarbie Sunday has a new clothing line. They can’t buy the dresses because, asDaisy says, “We blew the money on rentagain.” So they of course are forced to take the job. Daisy says: “I can’t wait until we get the dresses.Things are going to change for us after that.”  What an endearingly demented view.All they know about theirtarget is that he stole a truck of cologne and some money from their boss, andthat his apartment door will be open as the landlord is on their team. Russ(Danny Trejo), after giving them these details, asks them if they’ve heardabout the new Barbie Sunday dresses, which is a cute, odd touch.This film is full ofwonderful touches like that, creating its own world, its own reality – andalthough this reality at first seems over-the-top, it soon becomes just asbelievable and real as our own reality.The next day their targetis not in his home when they arrive. There is a beautiful shot of the two ofthem backlit by his apartment window, as they listen to a message from a womanasking their target to leave her alone. They wait for the target, but fallasleep on his couch.  The target (JamesGandolfini) arrives, and gently puts a blanket over them. We see only his legsand his arms at this point, as he moves his chair so he’s opposite them and thenreads the paper. When they wake, he’s asleep on his chair. And that’s the firstshot of his face. There’s another nicely framed shot here – with the man in thecenter, and the girls’ guns on either side of him in the foreground. He tellsthem he’s been expecting them. They are unsettled by his demeanor, and the factthat he wants them to kill him (but they appreciate that he makes them cookies).The movie is funny andsweet and at times heart-breaking. And it’s a total surprise. There are timeswhen it seems like fantasy, and then other times when it hits you with a harshreality. For example, there is another hit squad after the same target, and welearn that those guys had assaulted previously Violet. This is serious subjectmatter, and you might think that a mix of tones like that wouldn’t work. Butthis film is so expertly crafted that we are very quickly completely engrossedits reality, and are ready for any direction it may go. It has a totally coolfeel right from the start, so then it comes as something of a surprise to findthe film has real substance. I certainly didn’t expect to find myself soemotionally invested in these characters (in all three of them), and in theoutcomes. There is also some truly demented stuff in this film, such as thegirls’ victory dance. But everything – the funny, the serious, the twisted, thesad – is excellent. This is a film I’m going to be revisiting often, andsharing with all my friends.Violet & Daisy was written and directed by Geoffrey Fletcher,who won an Oscar for his screenplay of Precious.The DVD includes a gallery of stills of posters for the film, as well as thetheatrical trailer.Violet & Daisy is scheduled to be released on DVD and Blu-rayon November 19, 2013 through Cinedigm. " /> DVD Review: Violet & Daisy - Blogs - Wellington Daily News - Wellington, KS
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DVD Review: Violet & Daisy
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Violet & Daisy, about two young hit women whose new target

causes them to rethink things, is one of the best films I’ve seen in quite a

while. It features excellent performances, a damn good script, and impeccable

direction.








Violet & Daisy opens with a high angle shot. Daisy (Saoirse

Ronan, Hanna), a young woman, steps

into frame, looking up, unhappy. And we see what it is upsetting her. Across a

Barbie Sunday concert poster it says “Canceled.”

She steps back, still looking, daring it to be true. Her friend Violet (Alexis

Bledel) joins her, and Daisy asks her, “What

are we going to do now?
” Violet says, “I’ll

think of something
.”








The film then cuts to

them dressed as nuns holding pizza boxes, while “Angel Of The Morning” plays in

the background. The door to an apartment opens, and the two girls shoot the

occupants. This sequence is so well shot. The camera remains in the hallway,

while we hear gunfire, and then suddenly the girls emerge with a man who’d

apparently been kidnaped. The scene does not end there, and is deliciously,

almost beautifully, gritty. The scene ends with the two women looking at each

other, and then the film’s title fills the screen. How’s that for an opener?








The two women are then

taking a little vacation in their apartment, turning down a job and celebrating

Daisy’s eighteenth birthday. Violet learns from a celebrity magazine that

Barbie Sunday has a new clothing line. They can’t buy the dresses because, as

Daisy says, “We blew the money on rent

again
.” So they of course are forced to take the job. Daisy says: “I can’t wait until we get the dresses.

Things are going to change for us after that
.”  What an endearingly demented view.








All they know about their

target is that he stole a truck of cologne and some money from their boss, and

that his apartment door will be open as the landlord is on their team. Russ

(Danny Trejo), after giving them these details, asks them if they’ve heard

about the new Barbie Sunday dresses, which is a cute, odd touch.








This film is full of

wonderful touches like that, creating its own world, its own reality – and

although this reality at first seems over-the-top, it soon becomes just as

believable and real as our own reality.
















The next day their target

is not in his home when they arrive. There is a beautiful shot of the two of

them backlit by his apartment window, as they listen to a message from a woman

asking their target to leave her alone. They wait for the target, but fall

asleep on his couch. 








The target (James

Gandolfini) arrives, and gently puts a blanket over them. We see only his legs

and his arms at this point, as he moves his chair so he’s opposite them and then

reads the paper. When they wake, he’s asleep on his chair. And that’s the first

shot of his face. There’s another nicely framed shot here – with the man in the

center, and the girls’ guns on either side of him in the foreground. He tells

them he’s been expecting them. They are unsettled by his demeanor, and the fact

that he wants them to kill him (but they appreciate that he makes them cookies).








The movie is funny and

sweet and at times heart-breaking. And it’s a total surprise. There are times

when it seems like fantasy, and then other times when it hits you with a harsh

reality. For example, there is another hit squad after the same target, and we

learn that those guys had assaulted previously Violet. This is serious subject

matter, and you might think that a mix of tones like that wouldn’t work. But

this film is so expertly crafted that we are very quickly completely engrossed

its reality, and are ready for any direction it may go.








It has a totally cool

feel right from the start, so then it comes as something of a surprise to find

the film has real substance. I certainly didn’t expect to find myself so

emotionally invested in these characters (in all three of them), and in the

outcomes. There is also some truly demented stuff in this film, such as the

girls’ victory dance. But everything – the funny, the serious, the twisted, the

sad – is excellent. This is a film I’m going to be revisiting often, and

sharing with all my friends.








Violet & Daisy was written and directed by Geoffrey Fletcher,

who won an Oscar for his screenplay of Precious.

The DVD includes a gallery of stills of posters for the film, as well as the

theatrical trailer.








Violet & Daisy is scheduled to be released on DVD and Blu-ray

on November 19, 2013 through Cinedigm.






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