The idea of the dark feminist cult has fascinated Hollywood for decades.

Films like “Heathers” and “The Craft” popularized the trope in the ’80s and ’90s. Basic elements of the genre include an aspirational but mysterious female friend group, a clueless outsider, a disdain for men and a series of incredible outfits. 

“Forbidden Fruits,” released March 27, is no different. 

The film opens with a sequence of rose-hued shots of Apple (Lili Reinhart) getting ready for her shift at Free Eden, the boho fashion brand where she works. Right from the outset, the close-ups of her lip gloss, Stanley Cup and tarot cards ground the film in stereotypically feminine aesthetics. I remember thinking, “This is ‘a TikTok editor’s heaven.’”

The first shock of the film comes when Apple flings her steaming coffee onto a man who was sexualizing her. This moment is a graphic yet powerful rejection of the male gaze, with anti-patriarchal themes being a key theme of the film and sisterhood in general. 

Apple meets the other members of her girl crew, Cherry (Victoria Pedretti) and Fig (Alexandra Shipp), at Free Eden before the three strut around the suburban mall picking up free snacks from shop owners who scramble to win their favor. The sequence reminded me of the Plastics in Mean Girls. 

Apple, with her cool and controlling nature, long ginger hair and kitten heels, is undoubtedly the leader of the girl gang. Cherry, in her cowboy boots and pink gym shorts, is dumb, sweet and the comedic relief. Fig, dressed head to toe in leather, seems rather normal and aware but is still blindly devoted to Apple. Where have I seen this female friend group dynamic before? I can name several films.

Enter Pumpkin (Lola Tung), a self-assured worker at a pretzel shop, who catches Fig’s attention after introducing herself. Fig takes it upon herself to integrate Pumpkin into the group because of her fruit-inspired name, a seemingly perfect fit.  

Pumpkin goes through a rather witchy initiation that involves chants about goat cheese and drinking out of a rhinestone cowboy boot. The cross between a bohemian aesthetic and witchy symbolism makes the visuals one of the strongest points of the film. As Pumpkin gets deeper into the group, she discovers that their sisterhood and emphasis on women supporting women are performative and rife with ulterior motives. 

The first half of the film was a treat for the eyes, with a lot of style and little substance. I found myself easily predicting the plot progression. Of course, Cherry and Fig were seeing men behind Apple’s back. Of course, the group started to unravel when the newcomer joined it. Of course, their bond wasn’t as unbreakable as it seemed. I was grasping at straws to find something original about this film. 

However, I am glad I stuck around. Not because the second half of the film had anything unique to offer, but because it launched the star-studded cast into their scream queens moment, which was incredibly unsettling and entertaining to watch.

As the women’s dark backgrounds became exposed, the pacing picked up, tensions rose and the so-called sisters turned against one another. The so-called coven turned into a self-imposed witch hunt that culminated in Fig, Cherry and Pumpkin desperately trying to escape from a murderous Apple. Almost no one was spared in this bloodbath, which I couldn’t peel my eyes away from.

Cherry’s gut-wrenching monologue about her disturbing past was a standout, making me cringe with disgust but also immensely pity the character. 

The film is effective in exposing the fragility and toxicity surrounding the idea of sisterhood. It conveys that the perfect female friend group is a hollow ideal created by pop culture that women strive toward, but rarely feel seen and satisfied in. The four main actresses all deliver emotive, even terrifying performances, particularly toward the second half of the film. 

However, I question why I even watched “Forbidden Fruits.” “Mean Girls,” “Heathers” and “The Craft” would have had a very similar impact. This film simply borrows elements from each of these classics and adds a Gen Z spin, swapping out cigarettes for Stanley Cups. 

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