Looking for something provocative, playful, and controversial? You’ll adore “Honey Don’t!”, the newest film from married filmmakers Ethan Coen and Tricia Cooke. The pair, collaborating since the 1990 Coen Bros film “Miller’s Crossing,” recently delivered the chaotic entertainment of “Drive-Away Dolls.” They are now back with another narrative featuring lesbians caught up in an intriguing crime.

Margaret Qualley, from “Drive-Away Dolls,” teams up again with Coen and Cooke, reprising her role as the titular character. Honey O’Donahue is a small-town detective who keeps her thoughts private. When a new client meets an untimely end in a questionable car accident, she exchanges banter with the bumbling police officer on the scene (portrayed by Charlie Day), all while keeping her insights under wraps. This is her mystery to unravel.

Throughout the homicide investigation, Honey encounters a moped-riding femme fatale (Lera Abova), a grumpy sapphic police officer (Aubrey Plaza), and a self-centered cult leader (Chris Evans). It’s an exhilarating journey packed with twists, passion, and murder!

Margaret Qualley shines in “Honey Don’t!” Although this is the second feature in Coen and Cooke’s intended lesbian trilogy, “Honey Don’t!” does not replicate the broad comedy feel of its vibrant predecessor, “Drive-Away Dolls.” Qualley is pivotal in establishing the tone for both films. In the first, she portrayed a chaotic, humorous persona with a thick Southern accent and a robust libido, driving the film’s frenetic pace. In “Honey Don’t!”, Qualley adopts a self-assured, no-nonsense demeanor reminiscent of ’30s screwball comedies and ’40s film noir. Her fashion—clicking heels, pencil skirts, or tailored trousers—echoes these vintage influences, as does her candid manner. When the police officer makes a pass at her, she effortlessly responds, “I like girls,” to which Day replies with cheerful astonishment, “You always say that!”

Whether she’s embodying the cool gay aunt, revealing a naughty secret, or enjoying a one-night connection, Honey is charming and witty, yet approachable. This differentiates her from male detectives of yesteryear, who were typically brimming with bravado and icy glares. Her demeanor reflects the vibe of “Honey Don’t!”‘s backdrop: Bakersfield, California, a sunny locale with shadows beneath the surface.

“Honey Don’t!” is a raw and invigorating escapade. The script by Coen and Cooke brims with dark comedy, featuring jokes regarding kinky escapades, gruesome demise, and the absurdity of criminals and con artists. As Coen takes the helm of “Honey Don’t!”, it’s tempting to draw parallels with his collaborations with his brother, Joel. Is it closer to “Raising Arizona” or “The Big Lebowski”? “Burn After Reading” or “No Country for Old Men”? However, fixating on these comparisons might overshadow the distinct exploration of crime narratives that Coen and Cooke are weaving with their trilogy. Cooke’s impact is evident and vital as the film’s co-writer, producer, and editor.

Certainly, “Honey Don’t!” draws from film noir influences, much like numerous Coen Bros works and many before them. Yet, the Californian setting revitalizes tropes such as the femme fatale or the double cross. While “Drive-Away Dolls” delved into Americana and queer culture through road trip venues and lesbian bars, “Honey Don’t!” welcomes a less recognizable assembly of eccentric characters, sun-baked and unhinged.

Chris Evans is side-splitting, liberated from Disney’s constraints. Thankfully, Chris Evans’ time in the MCU has concluded. Now the actor, who was a phenomenal antagonist in “Knives Out,” can portray characters that aren’t just moral guides. In “Honey Don’t!”, he portrays Reverend Drew, a preacher whose congregation fulfills his every whim for sex or violence. “Honey Don’t!” showcases beloved character actors like Plaza, Day, Billy Eichner, and acclaimed theater performer Gabby Beans, all eager for whatever Coen and Cooke throw their way. While Qualley serves as the straight man amidst this quirky ensemble, Evans is the maestro of his own circus.

From the instant he flashes a hilariously insincere grin, there’s an exhilarating energy. Delivering punchlines with gleeful cluelessness, Evans constructs a sharp satire of a specific type of religious leader who becomes overly immersed in his own absurdity. His physicality is absurdly spot-on. Whether barking orders in the nude or delivering the most hysterical “oui” ever on screen, he moves like an animated caricature of an arrogant fool. Hats off to Evans for discovering a new and delightful way to maintain being America’s ass.

What’s most thrilling about “Honey Don’t!” is also what can be frustrating. Coen and Cooke initiate a mystery that appears to follow a familiar structure at the onset. But as Honey chases suspects and