Searching for something alluring, outrageous, and packed with mystery? Then make sure you don’t overlook Honey Don’t!, the newest project from the married creative team Ethan Coen and Tricia Cooke. Following last year’s quirky lesbian road trip comedy Drive-Away Dolls, the duo returns with another eccentric crime adventure—this time taking place in the sun-kissed Bakersfield, California, and revolving around a clever private investigator harboring her own secrets.
Margaret Qualley, who captivated audiences in Drive-Away Dolls, returns to the forefront as Honey O’Donahue, a straightforward rural detective with a calm demeanor and a striking wardrobe. After a new client meets an untimely end in a dubious car accident, Honey keeps her strategies under wraps, dismissing the bumbling police investigator on the scene (portrayed with hilariously clueless charm by Charlie Day) and subtly taking charge of the inquiry.
As Honey investigates further, she encounters an eclectic array of characters: a tempting moped-riding femme fatale (Lera Abova), a tough lesbian officer (Aubrey Plaza), and a self-absorbed cult leader (Chris Evans, offering a delightfully unhinged performance). What ensues is a winding, seductive, and darkly comedic mystery that defies expectations.
Margaret Qualley Shines in Honey Don’t!
Although Honey Don’t! serves as the second chapter in Coen and Cooke’s envisioned “lesbian trilogy,” it shifts in tone from its forerunner. While Drive-Away Dolls overflowed with hysterical comedy and chaotic spirit, Honey Don’t! embraces noir elements and dry humor—drawing much of its strength from Qualley.
Gone is the frenetic Southern charm of her prior role. In this film, she embodies the sophistication and grit of classic film noir heroines, showcasing a wardrobe of fitted skirts, crisp blouses, and clicking heels. Her demeanor is sharp and fluid, reminiscent of Katharine Hepburn’s legendary poise—minus the Mid-Atlantic accent. When Day’s detective attempts to flirt, she coolly responds, “I like girls,” to which he gives a shrug and a grin: “You always say that.”
Honey goes beyond just a fashionable sleuth. She is empathetic, witty, and subtly authoritative—whether mentoring her many nieces and nephews, unearthing a provocative clue, or having a casual fling. She offers a refreshing contrast to the brooding male detectives of noir history, perfectly fitting the film’s sun-drenched yet sinister Bakersfield setting.
A Bold, Bizarre, and Brilliant Crime Comedy
Coen and Cooke’s script brims with dark humor, poking fun at everything from risqué escapades to oblivious criminals. While one might be inclined to compare Honey Don’t! to Coen Brothers favorites like Raising Arizona or The Big Lebowski, such comparisons may overlook what makes this new collaboration so thrilling. Tricia Cooke’s touch is evident—not only as co-writer but also as producer and editor—infusing a fresh angle into the genre.
Yes, the film nods to noir conventions, yet it reinvents them with a sun-soaked Californian flair. While Drive-Away Dolls examined Americana via lesbian bars and quirky roadside attractions, Honey Don’t! plunges into a stranger, more chaotic realm of cults, corruption, and queer longing.
Chris Evans Unleashed
A major highlight of the film is Chris Evans, who enthusiastically sheds his Captain America persona to portray Reverend Drew, a magnetic cult leader with a taste for violence and vanity. Surrounded by a loyal following eager to indulge his every depraved desire, Evans is a riot—shouting orders while nude, delivering outrageous lines with deadpan flair, and moving with cartoonish egotism. It’s a hilarious, audacious performance that shows he’s ready to step beyond the MCU.
The supporting ensemble is equally engaging, featuring standout performances from Aubrey Plaza, Billy Eichner, and Gabby Beans. Qualley plays the straight role to their chaos, anchoring the film even as it ventures into increasingly surreal territory.
A Mystery That Defies Expectations
What makes Honey Don’t! captivating is also what might divide viewers: its unwillingness to adhere to conventions. The film crafts a familiar mystery framework, only to turn it on its head at every opportunity. By the time the credits roll, it’s evident that this narrative isn’t intended to be neatly concluded—it’s part of a larger, bolder, and more unpredictable tale.
For those ready to embrace the chaos, the film’s final twist offers a tantalizing hint of what lies ahead. It’s an outlandish, peculiar journey—one that promises even more surprises on the horizon.
Honey Don’t! had its premiere at the Cannes Film Festival and is set to land in theaters on August 22. Be sure to catch it.