‘Honey Don’t!’ Review: Margaret Qualley Is Back, with Even More Panache, in the ‘Drive-Away Dolls’ Companion Piece No One Asked For. But It’s Throwaway Fun

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Margaret Qualley gracefully navigates “Honey Don’t!” as if she were a contemporary film star transported to an earlier era, determined to seize every moment. Towering elegantly in crimson heels and a red dress adorned with white flowers, her hair cascading in ringlets, lips set with resolve, Qualley embodies Honey O’Donoghue, a private detective from Bakersfield. With a voice as deep and gaze as steady as a ’50s noir femme fatale, she brings a hard-boiled charm to her character.

Sweetheart, who owns a classic turquoise Chevrolet SS, repeatedly has to reject the advances of a local officer (portrayed by Charlie Day) by saying, “I prefer women.” While she’s telling the truth, his inability to comprehend this reveals a lot about society’s misconstrued views towards queer women. The film, on the other hand, pays tribute to its leading lady in a distinct fashion reminiscent of Tarantino and Jane Russell. In a different time, Honey might have been idolized, but in “Honey Don’t!”, her voice as deep as rich honey makes it clear that she’s the one calling the shots.

This week at Cannes, Paul Mescal told EbMaster that he believes cinema is shifting away from the conventional alpha male protagonists. However, let me clarify something for him: In cinema, it’s still alpha – both males and females – that hold significant influence, and always will. However, we are now in an era where some influencers have become uneasy with this. Last year, several film critics were displeased with Margaret Qualley’s overtly sexual performance in “The Substance,” perceiving it as part of a male-gaze conspiracy. Yet, the bold sensuality of Qualley’s portrayal is a crucial factor that will propel her to become a major movie star. She’s not old-fashioned; she’s ageless. She’s also a clever and resourceful actress who knows how to control the flow of a scene.

Tonight at Cannes, the film “Honey Don’t!” debuted in the Midnight Screenings section, a part I find intriguing as it’s somewhat akin to the grindhouse corner of the Criterion Collection. Indeed, this is the perfect place for such a movie. It shares similarities with last year’s “Drive-Away Dolls,” as they are both intentionally disposable. “Honey Don’t!” offers a consciously light and amusing take on escapist thrillers, aiming to provide an entertaining diversion.

“Honey Don’t!” premiered in Cannes’ Midnight Screenings section tonight, which feels fitting as it’s like the grindhouse area of the Criterion Collection. It belongs here, much like “Drive-Away Dolls” from last year. Both are intentionally low-budget films that aim to give you a laugh and some fun.

In “Drive-Away Dolls,” Qualley portrayed a contrasting character – Jamie, a flirtatious and fast-talking libertine with an energy mirroring her libido, who found herself ensnared in a ludicrously intricate scheme centered around a bag filled with oversized sex toys. On the other hand, Honey O’Donoghue is a more reserved character, and the latest film adopts a distinctly different mood, leaning towards gritty neo-noir rather than the whimsical, featuring a small-town ambiance that’s hinted at in the opening credits, where town names are cleverly interwoven into the signs of rundown stores and eateries in Bakersfield.

This movie is part of a trilogy planned by its director, Ethan Coen, and it’s not what one might have anticipated after the release of “Drive-Away Dolls,” which didn’t receive much acclaim or make much money. However, as one of the few critics who appreciated it, I was eager to watch its sequel, “Honey Don’t!”, and I wasn’t let down. Ethan Coen and his partner, Tricia Cooke (they collaborate on writing and editing these films), are creating something intriguing and forward-thinking in an unconventional manner. In each film, the protagonist played by Katherine Waterston exhibits a casual and unapologetic queer identity, as do both Ethan Coen and Tricia Cooke. The central theme of these films, if we can now speculate, is that they offer a unique perspective on lesbian experiences, intentionally devoid of any responsibility or convention.

In contrast to “Drive-Away Dolls,” which was set in 1999, the story “Honey Don’t!” takes place in an unspecified time period. The main character, Honey, appears quite old-fashioned, managing her contacts with a Rolodex and giving off a noir vibe that could be a part of the setting or her personality. This narrative once more explores the hypocrisy found in Middle America, this time focusing on the Four Way Temple, a church where its charismatic leader, Reverend Drew (portrayed by Chris Evans), exploits troubled congregants for his own personal gain. He uses the church as a means to gather vulnerable young women whom he can manipulate into dressing up in BDSM attire and engaging in sexual relationships with him.

Title Character, sporting a distinctive televangelist hairstyle and communicating through a headset, is a corrupt leader linked to drug dealing and other heinous activities. The narrative revolves around the murder of one of his devotees and the subsequent chaos ensuing from attempts to conceal it. This plot may seem absurd, but it’s even more so given the film’s dry comedic approach. Chris Evans appears to relish his role as this unsavory character. If “Drive-Away Dolls” resembled a lighter version of “Raising Arizona,” this movie leans closer to “Blood Simple,” although it can be seen as a seedy establishment film akin to “The Big Lebowski” and “Repo Man,” with hints of Raymond Chandler’s style. In “Honey Don’t!”, the primary function of the criminals is to provide company for the audience.

Honey, the main character, has a complex family situation with a troubled sister (Kristen Connolly) and a rebellious niece (Talia Ryder) who’s dating an abusive partner. Interestingly, like the protagonist of “Drive-Away Dolls,” Honey struggles to keep relationships. She becomes entangled with MG (Aubrey Plaza), a police officer, who resides in a home that seems eerily similar to the “Psycho” house from within, and due to Aubrey Plaza’s somber yet captivating portrayal, their relationship feels raw and authentic, despite its many flaws.

It’s been seven years since the Coen brothers collaborated on a film, during which they announced the end of their creative partnership. In that time, both brothers have had interesting career paths, and my perception has always been that Joel was the driving force, while Ethan followed along. However, this image shifted when Joel directed his captivating adaptation of “The Tragedy of MacBeth” in 2021. This impression didn’t change with Ethan’s release of his sharp YouTube documentary on Jerry Lee Lewis, “Jerry Lee Lewis: Trouble in Mind,” or last year’s “Drive-Away Dolls.”

But now that Ethan Coen, working alongside Tricia Cooke as a creative partner, is focusing on the small but engaging visions of these films, giving Margaret Qualley such a prominent platform to showcase her talent, I feel it’s him who appears to be the innovator. The film “Honey Don’t!” is set to open later this summer. I’m already curious to see which role Qualley will take on in the next installment.

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2025-05-24 02:47