“Get in loser. We’re going shopping.”

In the case of the young women in Forbidden Fruits, they are going to work, but don’t mistake this as being a far cry from things you’ve already obsessed over. Fandoms from films like mean Girls, Heathers, The Craft, Jennifer’s Body, The Babysitter, and the oft forgotten Jawbreaker will see the writing on the wall. A clique of girls has their own rhythm, their own hierarchy, and then the new girl arrives. Pumpkin has entered the chat.

Somewhere, where malls still exist (the movie was filmed in Toronto), this group of privileged girls have a witches coven because they all have ridiculous names, and work at a high end fashion store, although the word work is a loose interpretation. The leader of the pack is Apple (Lily Reinhardt), who is giving off Regina George vibes as her set of Plastics all look to her for witchy guidance. They worship Marilyn Monroe, have a confessional where they tell Marilyn their secrets, and believe Monroe was assassinated because of her affair with President Kennedy. Much like films of this ilk, things shift when they induct a new member, Pumpkin (Lola Tung), who seems hesitant at first, since she’s not sure if there’s real magic at play here. But, through incantations and spells, and several gory inexplainable deaths, it becomes pretty clear someone has tapped into something. The rest of the coven, Fig (Alexandra Shipp), Cherry (Victoria Pedretti), and Pickle (Emma Chamberlin) function as the quirky side characters in what could be a battle between Apple and Pumpkin and they don’t even know it.

A directorial debut from Meredith Alloway, who shows that she has a very specific brand and style down pat. It feels like a diablo Cody film even though she’s only onboard as a producer. The whip smart, super referential dialogue that feels cooler than you are and runs through Cody’s work is present here as well. The cast is solid across the board, with Reinhardt being especially fun as a standout. The film is based on a stage play Of The Woman Came The Beginning Of Sin, And Through Her We All die. Not only is that title nuts, I now really want to see it, as I wonder how it translates on a stage versus the screen. Some of the kills and gore would be hard to pull off theatrically. Yes, there’s gore.Not an insane amount, but it does show up when required.

I did think the film had some pacing issues. Most films like this seem to pulse a bit more, thrusting themselves forward, not stalling. It can feel lethargic in a few scenes, as we wait for payoff, or the scene to offer something new. The score did nothing for me. It felt like a waste, like a placeholder score for festivals, with the idea that a studio would pay for the rights to a hip soundtrack. That soundtrack never really comes, and the score comes from slumberland. It was probably my least favorite thing about the film, something I haven’t noted since Highest To lowest.

It likely will fall short of my year end Top 25, but the first half of the year is typically so weak, it will have no problem staying in my top 25 for a while. I’d watch it again, and probably love it just as much, as it is highly quotable, and I forgot several lines I really wanted to remember. It also ends on a note that suggests a sequel could be in the works. might I suggest Forbidden Fruits 2: the Grape Escape?

Forbidden Fruits is plum ripe, offering biting and crisp dialogue, juicy violence, but could have used a kick in the pacing and score/soundtrack areas.

Fresh: 7.9/10