In the quirky film “Honey Don’t!,” we delve into a desert mystery that takes a rather unconventional approach. The story revolves around the detective, Honey O’Donohue, portrayed by Margaret Qualley, who intriguingly never quite resolves the film's central crime. Instead, her character is preoccupied with seducing women while simultaneously fending off advances from men. The opening murder could be interpreted as a red herring, but it feels more like a fish left to simmer under the scorching Bakersfield sun.
This film marks the second collaboration between Ethan Coen and his wife, Tricia Cooke, following their first effort, “Drive-Away Dolls,” set to release in 2024. “Honey Don’t!” shifts the focus from the mystery of the corpse to a larger, more philosophical question: Why not? Why not allow Margaret Qualley to demonstrate her incredible talent and charisma? Why not pivot from classics like “The Big Lebowski” and “O Brother, Where Art Thou?” to explore a trilogy of lesbian exploitation films? With the creative freedom they have earned, this couple is making precisely the movie they desire, regardless of its B-movie status.
Despite its shortcomings, “Honey Don’t!” offers enough entertainment to keep audiences engaged for its 89-minute runtime. Margaret Qualley’s commanding presence steals the show, and her supporting cast is equally impressive, featuring Aubrey Plaza as Honey's latest lover and Chris Evans as a corrupt pastor. Newcomer Josh Pafchek also shines in his role as a bumbling Australian brute. The script is sprinkled with sharp one-liners that evoke spontaneous applause from the audience, particularly a clever insult Honey hurls at her estranged father, played by Kale Browne.
However, similar to “Drive-Away Dolls,” which also stars Qualley as a vibrant queer character, “Honey Don’t!” suffers from a lack of focus. The film feels longer than its runtime due to its meandering plot. Qualley’s character, Honey, is a determined investigator but often sidetracks herself with personal dilemmas, including her relationship with her troubled niece, played by Talia Ryder, and her flirtations with Plaza’s character, a tough lady cop. The central mystery takes a backseat to these diversions, as Honey’s investigation lacks the brilliance typically expected from a private detective.
Honey is aware of a mysterious figure named Cher (played by Lera Abova) from the outset, but her interest in Cher evolves for reasons unrelated to the central investigation. Meanwhile, across town, the corrupt Reverend Drew (portrayed by Chris Evans) manipulates his congregation into compromising situations under the guise of divine submission. The film cleverly contrasts Honey with Reverend Drew, showcasing how both characters engage in their own forms of conquest.
Honey’s character is a modern woman with a flair for the absurd; she clings to outdated tools like a Rolodex and struts around in stylish outfits without breaking a sweat. Qualley’s performance is both cool and commanding, delivering lines with a sharpness reminiscent of classic film noir dames. Her interactions with the local homicide officer, Marty (played by Charlie Day), highlight the humorous dynamic between the oblivious male pursuer and Honey's unyielding independence, reflecting Cooke's real-life rejection of Coen's initial advances.
Coen and Cooke’s collaboration is a testament to their nontraditional partnership, where both contribute their unique talents to create captivating narratives. While Coen is often recognized as the director due to industry norms, both creators assert that their projects are a shared vision. Their filmography is marked by an eclectic range of genres, from thrillers to comedies, defying conventional categorization.
Despite its flaws, “Honey Don’t!” successfully presents a noir film infused with humor and a distinct flavor. The pacing occasionally falters, and some comedic moments feel forced, but the film's charm lies in its quirky characters and their interactions. As Honey navigates a world filled with colorful characters, including a caricatured Bolivian grandmother, the film embraces a playful yet critical view of societal norms. Coen’s self-deprecating humor shines through, as he humorously describes himself as “straight and stupid,” a sentiment that resonates throughout the film.
In summary, “Honey Don’t!” may not be a conventional mystery, but it offers a refreshing perspective on the genre, featuring a strong performance from Margaret Qualley and an engaging mix of humor and absurdity that invites viewers to enjoy the ride, regardless of the destination.
