It’s clear that “Forbidden Fruits” director and co-writer Meredith Alloway has marinated in plenty of ‘90s teen movies and the kitschy pop culture ephemera of that era. Her directorial debut, written with Lily Houghton and based on Houghton’s play “Of the woman came the beginning of sin and through her we all die,” is essentially a synthesis of “The Craft,” “Mean Girls” and “Clueless,” about a coven of catty witches who work at a boutique in a Texas mall.

But in “Forbidden Fruits,” it’s hard to shake the feeling that Alloway’s movie knowledge is just that — easily identifiable iconography without much innovation or depth.

Our clique comes storming down the mall food court in that classic slow-motion strut, letting us know right away what we're in for. They’re known as “The Fruits” because they all happen to be named after them. The leader, Apple (Lili Reinhart) operates in the controlling mode of Regina George or Cher Horowitz; her lackeys are alt queen Fig (Alexandra Shipp) and blond bimbo Cherry (Victoria Pedretti). When they realize that a cute pretzel purveyor is named Pumpkin (Lola Tung), they quickly bring her into their circle as their fourth, seemingly only because her name fits the theme.

Apple runs her high femme little coven out of their store Free Eden with an emphasis on iconic women — the girls confess to their martyr Marilyn Monroe in a dressing room, and practice dark magic with their panties and a silver cowboy boot. In the interest of helping each other “shine,” Apple also takes a page from Ann Lee and the Shakers — sex and boys are banned and communication is highly controlled.

It’s only when Pumpkin starts uncovering some of the coven’s secrets, including a former member named Pickle (Emma Chamberlain) that their controversial personal histories involving hexes, poison, fires and hidden boyfriends come to light, and the situation spirals out of control (literally — the climax happens during a tornado).

Alloway and cinematographer Karim Hussain craft a distinctive and unique aesthetic, a gauzy, highly artificial look that underlines the winky, referential tone, but it also lends to the strangely dreamlike quality of “Forbidden Fruits,” which doesn’t always work for the genre.

While the actresses, particularly Reinhart and Pedretti, are locked in with the tone, and Reinhart delivers the fierceness required of such a role, the pace of “Forbidden Fruits” is at odds with the performers. The film is weirdly slow and sleepy, and at least 20 minutes too long. The convoluted story, peppered with various twists, lacks momentum.

A stronger hand in the edit could have resulted in something more dynamic and engaging, but the plotting is mushy and then rushed. For a witchy horror thriller, it’s heavier on the psychological violence than actual scares, and a third act bloodbath and big reveal can’t save it when we finally get there.

The film’s theatrical provenance reveals itself in long monologues in the Marilyn confessional room, and Pedretti delivers one that reveals the depth beyond Cherry’s ditzy exterior. We can see Houghton’s play in these moments, but then Alloway’s cheeky pop sensibility intervenes, the arch artificiality and ironic tone draining the emotional impact.

“Forbidden Fruits” can’t reconcile all of its influences and just ends up as a collection of references and high style without much staying power — it’s essentially the fast fashion of girly pop horror.

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'FORBIDDEN FRUITS'

2 stars (out of 4)

MPA rating: R (for strong violent content/gore, sexual content, nudity, language and brief drug use)

Running time: 1:43

How to watch: In theaters March 27

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