Ethan Coen’s second solo venture continues his planned lesbian B-movie trilogy with diminishing returns, proving that the Coen Brothers’ legendary filmmaking chemistry was indeed a partnership that shouldn’t have been dissolved. Despite assembling Margaret Qualley, Aubrey Plaza, Chris Evans, Charlie Day, and strong below-the-line talent including cinematographer Ari Wegner and composer Carter Burwell, “Honey Don’t!” feels like a filmmaker more interested in stylistic flourishes than coherent storytelling.
The film exists in the same thematic universe as Coen’s previous “Drive-Away Dolls,” sharing similar problems with underdeveloped characters and plots that prioritize quirky antics over emotional stakes. While individual elements work well, the sum never approaches the parts’ potential.
Let’s get into the trailer before delving further into the narrative.
Private investigator Honey O’Donohue (Margaret Qualley) works infidelity cases in sun-scorched Bakersfield, California. When she investigates what appears to be a fatal car accident involving Mia, a woman who had contacted her the previous day, Honey suspects murder rather than misfortune. Her investigation leads to Rev. Drew Devlin (Chris Evans), who operates a prosperity gospel church that exploits emotionally vulnerable people, particularly young women. As bodies accumulate, Honey uncovers connections to a drug trafficking operation with French mafia ties, represented by a mysterious woman (Lera Abova) who cruises town on a Vespa.
Simultaneously, Honey begins an intense affair with MG Falcone (Aubrey Plaza), an emotionally guarded cop at the local precinct, while attempting to help her teenage niece (Talia Ryder) escape an abusive relationship. Throughout these developments, homicide detective Marty Metakawitch (Charlie Day) persistently hits on Honey despite her repeated assertions about being lesbian.
Margaret Qualley demonstrates significant improvement over her “Drive-Away Dolls” performance, trading that film’s unconvincing Southern accent for the sardonic authority of a hard-boiled detective. Her Honey commands scenes through physical presence and vocal delivery, click-clacking through Bakersfield in heels with genuine confidence. However, the screenplay fails to provide dialogue worthy of Qualley’s commanding screen presence, leaving her without the means to capitalize on the potential of the film and this part.
Aubrey Plaza excels as the emotionally distant MG, transforming what could have been a thankless role into something substantial through sheer force of personality. Her chemistry with Qualley generates genuine heat during their steamy encounters, but their relationship suffers from the same developmental incompleteness that plagued “Drive-Away Dolls,” particularly as it takes darker turns without proper psychological groundwork.
Chris Evans continues his post-Marvel villain exploration as Drew Devlin, the lecherous cult leader, but unlike his more nuanced work in “The Materialists,” this performance feels too broadly conceived to generate real menace — a stone’s throw from the half-rate villain in “The Gray Man.”
Evans brings his natural charisma to the role, but the character lacks any depth, texture, or complexity that would make him genuinely threatening rather than just sleazy.
Supporting players Josh Panchek and Gabby Beans bring authentic humor to their roles as Drew’s assistant Shuggie and Honey’s assistant Spider, respectively, while Charlie Day’s repeated rejection of Honey’s sexuality quickly becomes tedious rather than amusing, exemplifying the film’s tendency toward repetitive gags over character development.
Cinematographer Ari Wegner, building on her Oscar-nominated work for “The Power of the Dog,” captures Bakersfield’s dusty atmosphere in perfectly faded postcard hues that establish the neo-noir mood with visual sophistication the screenplay lacks. Her compositions honor classic noir traditions while maintaining contemporary sensibilities, creating one of the film’s undeniable strengths.
Costume designer Peggy Schnitzer delivers consistently excellent work, from Honey’s impeccably tailored pantsuits to Spider’s vibrant blouses, creating visual personalities that distinguish each character within this small town’s surreal ecosystem. The costumes provide character definition that dialogue and plotting fail to establish.
Carter Burwell’s Western-tinged score remains competent but lacks the haunting memorability of his finest Coen Brothers collaborations. The music supports without elevating, functioning as background rather than emotional enhancement.
Production designer Ethan Tobman constructs a believable world of strip malls, dive bars, and storefront churches, though these environments feel dramatically underutilized. Sound design by Craig Henighan maintains professional standards without adding distinctive audio character to enhance the storytelling.
The central problem emerges in the film’s treatment of mystery and character development as secondary to stylistic antics. While suggestions exist of Drew’s drug operation and its French criminal connections, Coen and co-writer Tricia Cooke elaborate only enough to establish the next visual gag rather than build genuine suspense or thematic depth.
The mystery itself feels perfunctory—audiences want to understand the scheme and how Drew’s poorly-managed church connects to larger criminal enterprise, but the filmmakers seem more invested in maintaining quirky tone than plot coherence. This represents a significant decline from classic Coen Brothers mysteries like “Blood Simple” or “The Man Who Wasn’t There,” which balanced eccentric characters with legitimate noir tension.
Honey and MG’s relationship represents another compelling thread that receives inadequate development. While both actresses deliver sharp one-liners and the script includes gestures toward deeper characterization, the romance ultimately feels as incomplete as the central mystery, particularly when it takes twisted turns without psychological preparation.
“Honey Don’t!” exemplifies filmmaking that enjoys itself so thoroughly it forgets to include audiences in the experience. The technical craftsmanship deserves recognition—particularly Wegner’s cinematography and Schnitzer’s costume work—but exceptional below-the-line contributions doesn’t compensate for a screenplay that mistakes surface-level quirkiness for emotional or narrative substance. Much like the compelling and faltering elements of Marvel’s “Fantastic Four” in our previous review.
This film’s LGBTQIA+ representation is present, but it doesn’t resonate in a meaningful way, nor is it truly investigated in the script… the characters’ sexuality feels more like aesthetic choice than authentic identity exploration.
In total, Coen’s film represents a frustrating missed opportunity to revitalize LGBTQIA+ representation and the neo-noir genre with something genuinely substantial rather than merely stylish.
Letter Grade: C-