“Violet & Daisy” is more conceit than film. It steals a little from “Pulp Fiction” (both before and after a bloody hit, two nonchalant assassins discuss unrelated things, in this case bestiality), a tad from “Suicide Kings” (criminals in way over their head are outsmarted by their hostage), a smidgen from “The Professional” (a troubled girl finds a daddy figure in an older criminal). The soundtrack is, course, incongruously light and

In 1994 Luc Besson directed “The Professional,” a stark drama […]

Peter Jackson’s ‘The Lovely Bones’ accomplishes one thing that’s hard […]

Film critics are a notoriously grumpy lot, maybe because, unlike […]