Margaret Qualley’s sleazy crime caper ‘Honey Don’t!’ is a hot mess — just as intended

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Titled “Honey Don’t!”, this is a mysterious desert noir where the protagonist, Honey O’Donohue, played by Margaret Qualley, largely abstains from solving the main crime. Instead, she finds herself engrossed in flirtatious endeavors with women and warding off advances from men. While the initial murder might be considered a red herring, it’s more accurate to think of it as an unwanted fish left to bake under the scorching Bakersfield sun.

The second movie penned by Ethan Coen and his collaborator and wife Tricia Cooke (the first was 2024’s “Drive-Away Dolls”), it seems more interested in the question of why than who is accountable for that corpse. Why not let Margaret Qualley demonstrate her ability to captivate an audience with any narrative? Why not transition from “The Big Lebowski” and “O Brother, Where Art Thou?” to a proposed trilogy of gritty lesbian exploitation films? Why not, given the industry influence that this duo has amassed, decide to produce the script they desire with their preferred cast, creating precisely the film they envision, even if this pulpy B-picture is not particularly impressive? Who would dare to challenge them, dear?

In simpler terms, “Honey Don’t!” manages to keep you engaged for its 89-minute duration due to its numerous appealing aspects. I’d gladly watch the main character, played by Qualley, for even longer, as her performance is captivating and her co-stars, including Aubrey Plaza, Chris Evans, and Josh Pafchek, deliver exceptional performances, reminiscent of a Coen Brothers production. The script is filled with clever jokes that make you want to cheer, such as the sharp insult Honey throws at her estranged father (Kale Browne). Even the lengthy intro credits have a humorous vibe that makes you forgive their use as a way to stretch the runtime.

Despite sharing similarities with “Dolls,” where Qualley played a vivacious, LGBTQ+ character, the movie has such an unpolished feel that it seems longer than its actual duration. Upon completion of both films, I found myself rechecking my watch in disbelief, as they were surprisingly under 90 minutes long.

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Qualley’s character is a determined investigator who values her independence, preferring to brew her own coffee rather than having her secretary do it. However, her performance as a private detective leaves something to be desired. Honey shows only casual interest in solving the mystery of a client’s death before their first meeting, instead getting distracted by various side plots – such as her troubled teen niece and romantic entanglements with a female cop played by Plaza.

From the very beginning, there’s a mysterious stranger named Cher (Lera Abova) who requires Honey’s attention. Initially, it’s because of her suspicious nature, but later, she catches Honey’s interest for other reasons. The French femme fatale eventually becomes a significant focus in the story.

In town, the allegedly corrupt Reverend Drew (Evans) is persuading his congregation, using religious submissiveness as a pretext, to engage in intimate relationships with him. During a gathering, he demands a follower to “shake up your chests” during fellowship. This preacher stands out as one of the most sinful figures in Bakersfield; his behavior and Honey’s could be compared to using a phonebook as a tally of conquests. Unlike a typical thriller where there’s a cat-and-mouse dynamic, here it’s more like a virus and an immunity. Honey remains unaffected by the preacher’s pitches for heterosexual relationships and spiritual salvation.

Honey is an unusual character, much like a modern woman from the 21st century clinging to an outdated tool – a Rolodex. This gadget was already becoming obsolete before Honey was born. Despite navigating through thick bushes wearing seamed stockings and high heels, and frequently changing her wardrobe throughout the day for no particular reason, she never appears to sweat, except in private moments.

Qually maintains composure from top to bottom, her eyebrows firm and her dialogue delivered with a refreshing crispness. She’s reminiscent of a bold vintage woman, speaking her mind directly. When the local detective Marty (Charlie Day) attempts to flirt, she candidly states, “I prefer women.” However, he seems oblivious to her signals and continues to bother her, creating a dynamic that resembles an awkward comedy about men’s lack of understanding.

In another words, Marty’s aim is similar to that situation when real-life Cooke turned down Coen on their first date, as Honey humorously reminded him. Essentially, it demonstrates that “Honey Don’t!” is a private joke between them. Last year, Coen told the Associated Press, “Tricia’s quirky and sweet, I’m straight and dumb.” They both refer to their long-term marriage as non-conventional and assert that they collaborate on these action films, not worrying about who gets credited for what. Coen is officially recognized as the director of “Honey Don’t!” because he’s a member of the Director’s Guild of America (DGA).

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Coen, along with his brother Joel, are known for their work together that often buck traditional genres and labels. Their filmography is diverse, spanning from intense thrillers to humorous comedies, always ensuring each production is unique. It seems they aim to keep viewers on their toes by constantly pushing the boundaries of expectation. Since 2018’s “The Ballad of Buster Scruggs,” the duo has taken a creative hiatus. This gap has allowed for an exploration of each brother’s individual talents, such as observing Joel Coen’s black-and-white “The Tragedy of Macbeth” next to “Honey Don’t!” might lead one to believe that Joel is the more stylistic and Ethan the funnier – with Joel donning a monocle and Ethan a John Waters-inspired mustache.

It’s possible they’re deceiving us once more. Just like suggesting that William Shakespeare and Tricia Cooke are the creators of those movies, it could be accurate – especially Tricia Cooke, given her apparent influence on the shaping of the two seductive Quinn films so far. (The third one is titled “Go Beavers.”)

I’ve tried to keep a conversational tone while making the sentence more accessible and clear.

While it may be a bit rough around the edges, it’s hard to argue that “Honey Don’t!” doesn’t deliver a unique, spicy noir flavor. However, it seems to lack the rhythmic punch needed in certain scenes, giving an impression of uncertain timing for its comedic moments. For instance, when the playboy (Christian Antidormi) struts into a bar and orders a cinnamon schnapps, that line feels out of place, as if it was more effective on paper. Later, a stereotypical drug dealer’s character (Gloria Sandoval), adorned with a bowler hat and overflowing with dried chili peppers, seems designed primarily for laughter, which might make the audience question its authenticity. Nevertheless, I did chuckle when Honey visited her sister, Heidi (Kristen Connolly), who seemed like a worn-out housewife whose home produced an endless parade of children, popping out from corners as if they were magically appearing rabbits from a hat.

In the town Honey visits, many of the people she meets seem so uninterested and simple-minded that the comedy sometimes feels harsh. The movie seems to suggest that most people are as ordinary and unintelligent as the Coen brothers describe themselves. This perception has served them well, earning them four Oscars and allowing them to do whatever they wish.

Many of the townspeople Honey meets appear so indifferent and unsophisticated that the humor in the film can come off as harsh. The movie seems to portray most people as ordinary and unintelligent, like the Coen brothers describe themselves. This view has served them well, winning them four Oscars and giving them the freedom to do whatever they desire.

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2025-08-21 17:01