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The Virgin Suicides is a 1999 American drama written and directed by Sofia Coppola, produced by her father Francis Ford Coppola, starring James Woods, Kathleen Turner, Kirsten Dunst, Josh Hartnett, and A. J. Cook.

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Synopsis:
In an ordinary suburban house, on a lovely tree-lined street, in the middle of 1970s America, lived the five beautiful, dreamy Lisbon sisters, whose doomed fates indelibly marked the neighborhood boys who to this day continue to obsess over them. A story of love and repression, fantasy and terror, sex and death, memory and longing. It is at its core a mystery story: a heart-rending investigation into the impenetrable, life-altering secrets of American adolescence.

Check out the Rotten Tomato reviews of The Virgin Suicides:

Richard Brody (New Yorker) A surprisingly intricate struggle with absence, grief, and memory. Full Review
Nell Minow (Common Sense Media) Intense, imperfect movie about teen suicide. Full Review
Nick Rogers (Suite101.com) Sofia Coppola’s compelling, ethereal fable about adolescent loss of innocence is claustrophobic and uncomfortable, but profoundly affecting and gently funny. “The Virgin Suicides” advises teen years are sometimes best remembered as a long-ago vacation. Full Review
Bob Grimm (Sacramento News & Review) Sofia Coppola’s adaptation of Jeffery Eugenides’ 1993 novel plays like a sweet, sad dream. Full Review
Rob Gonsalves (eFilmCritic.com) It’s yet another case of blame-the-parents, and, more precisely, blame-the-overprotective-mother. Full Review
Emanuel Levy (Variety) Sofia Coppola tackles the issue of teenage suicide with an assured treatment in The Virgin Suicides, effectively employing a seriocomic tone. Full Review
Jonathan Rosenbaum (Chicago Reader) A very curious and eclectic piece of work. Full Review
Emanuel Levy (EmanuelLevy.Com) An assured feature debut, this darkly humorous exploration of a tough subject benefits from an original narrative and the fact that the appealing cast consists of actors who are the same age as the characters they play.
Jeffrey M. Anderson (Combustible Celluloid) The strongest directorial debut of the year. Full Review
(Time Out) The tone of wistful regret and longing doesn’t preclude a good deal of gentle humour. It’s a restrained, subtly suggestive piece which disintegrates if you try to get a fix on it. Full Review
Frank Swietek (One Guy’s Opinion) A rather stunted and sliggish exercise in style whose sporadically haunting visual quality doesn’t make up for its shallowness and ponderous pace. Full Review
Chris Gore (Film Threat) A stellar debut feature from Sofia Coppola and it’s a must see. Full Review
Robin Clifford (Reeling Reviews) Concentration on either the writing or the direction, but not both, may have spawned a better film from first-timer Sofia C. Full Review
Pablo Villaça (Cinema em Cena) Mergulhando com sensibilidade na amargura do universo adolescente, com seus anseios e frustrações, Coppola estréia de forma memorável na direção.
Moira MacDonald (Seattle Times) A disarmingly poetic – and specifically female – vision of adolescence that it belongs in a category of its own. Full Review
Peter Bradshaw (Guardian) Coppola’s direction engagingly avoids the coming-of-age cliches and the film boasts an excellent performance from Kirsten Dunst. Full Review
Jeanne Aufmuth (Palo Alto Weekly) Black comedy has never looked so good.
Mark Olsen (Sight and Sound) If missteps hold the film back from achieving the full grandeur it aims for, there is no denying the way it conjures a magic-realist American suburbia, rarely before brought so convincingly to life. Full Review
Jon Niccum (Pitch.com) If [Coppola’s] debut film is any indication, talent does run in the family — even if it is a somewhat disjointed talent. Full Review
Margaret A. McGurk (Cincinnati Enquirer) In the end, the strengths of the movie are overwhelmed by what is pretentious, unplugged and boring to boot. Full Review

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