FILM REVIEW RELEASE HONEY DON’T!
Margaret Qualley, Aubrey Plaza, Chris Evans, Lera Abova.
Director
Ethan Coen
Cinemas August 28th
Ethan Coen and Tricia Cooke’s Honey Don’t! is a bold experiment in blending noir, comedy, and detective storytelling through a lesbian lens. It’s playful, pulpy, and at times emotionally resonant, though not without its bumps along the way.
Margaret Qualley stars as Honey O’Donahue in writer/director Ethan Coen’s HONEY DON’T!, a Focus Features release.
At the heart of the film is Margaret Qualley as Honey O’Donahue. Qualley, a Golden Globe nominee, continues to prove why she has become one of the most sought-after actors of her generation. Since her breakout in HBO’s The Leftovers, she has shown an extraordinary range, and here she brings a mix of wit, vulnerability, and a noir edge to Honey. Her performance grounds the film, even when the dialogue edges into overly corny territory.
Chris Evans delivers a surprising turn as Drew Devlin, leaning into his comedic chops with an almost self-parodying energy that makes his character one of the funniest parts of the film. He plays it loose and sharp, adding levity that balances out the darker tones.
The rest of the ensemble also deserves recognition. The cast leans into the off-kilter tone with gusto, shaping a world that feels both heightened and lived-in. Their collective chemistry brings Coen and Cooke’s vision of Bakersfield noir to life – a refreshing change from the usual Los Angeles or New York settings.
That said, the film does stumble. Some scenes feel unnecessarily drawn out, and certain dialogue exchanges fall flat, straying into cliché. The direction swings between brilliance and misfire, creating the sensation of a mixed-up dinner party where not every character quite fits at the same table. The ending, too, leaves one pondering more than satisfied – a deliberate choice, but one that risks alienating viewers seeking closure.
Still, there is no denying the film’s style. The cinematography, production design, and score elevate Honey Don’t! into something distinct and often visually arresting. There are moments of intensity that showcase Coen and Cooke’s gift for staging a scene with precision and flair.
Beneath the stylized mystery lies something more intimate: a tale of two women shaped by trauma and the different ways they navigate love, family, and dysfunction. As Coen noted, “Functional and dysfunctional family – that’s kind of what it’s all about.”
In the end, Honey Don’t! isn’t a film I’d make too much noise about, but it is one that filmmakers and cinephiles will take something away from. It’s a curious mix of noir nostalgia and modern queerness, with flashes of brilliance, a magnetic cast, and a genre-bending edge that makes it worth a look – even if unevenly executed.
HONEY DON’T!, a Focus Features release.
