Violet & Daisy should have been a disaster: a twee gender-flip of The Boondock Saints with a candy-colored approach to mayhem and dialogue that stresses how cuh-razy! it is that young women should also be hired killers. That's how it starts, anyway, until James Gandolfini shows up as a target eager for death and everything slows down into a chamber drama that poses serious questions about what death means to an ill-lived life. He elevates the two leads and delivers a performance ready made to be his own eulogy, and at times this ostensibly quirky film is so true it's hard to face directly. Buried for years (it first played at the 2011 Toronto festival before at last being dumped this year), Violet & Daisy is worth a fair shake, if for no other reason to see one more Gandolfini performance.
My full review is up at Cinespect.
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