“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