Director Ethan Coen’s most recent span of movies, including his previous work “Drive-Away Dolls” as well as “Honey, Don’t!” and a third unnamed film in this new trilogy, have been an attempt to reach out to queer audiences without alienating others who may want to watch. And despite the varying negative reviews that have emerged, I think he’s doing a great job.
The opening shots and beginning credits present an initial body and mystery through an unnamed woman. The environment only continues to intensify significantly throughout the little over an hour-long runtime. Already after just seeing the credits, audience members have high expectations when names like Margaret Qualley, Aubrey Plaza, Charlie Day, Chris Evans, Talia Ryder and Billy Eichner pop up. Whether the viewer is a fan of sitcoms or familiar with superhero media, chances are there is at least one name they’ll see and connect with.
There’s no question that every actor listed has had a better showing in some other project, but the concept critics and audiences alike fail to grasp is that “Honey, Don’t!” does not present itself as the next film of the year. In fact, for me it does the opposite. The film presents these strong comedic actors and allows them to toy with both a new sense of dry, snappy humor as well as pre-existing tropes in a way that expands on already well-established careers.
Although the plot and eerie setting are strong on their own, it comes as no surprise that the actors themselves still remain the highlight. Qualley is practically unrecognizable in her role as Honey O’Donahue, while Plaza embraces a more quietly menacing undertone as MG Falcone. Supporting actors Day and Evans are consistently comedic without taking attention away from the main blossoming romance and central plot.
A mix of snappy shots and somewhat formulaic lines may feel like a movie turnoff, but that’s only before the hidden meaning of this mishmash of tropes begins to emerge. If one goes into the movie expecting a groundbreaking mystery or, god forbid, expects to be disappointed, you will be disappointed. Because “Honey Don’t” is not a new take on the mystery genre, it’s a satirical presentation of a decades-old film type.
Scenes like where our southern belle protagonist interviews a worn-out bar girl or a ridiculous blood-fest of a finale further the idea that this film is aware of how silly it comes off. It pokes fun at film noir fanatics while also offering pleasing fight scenes and a unique yet refreshing sense of humor to a metaphorical table of rabid critics. The same critics that claim a nonsensical plot structure when, in reality, the film practically spells out the connection plot points have to each other by the end, keeping the signature denouement of a mystery while embracing how ridiculous a film centered around a small town’s church corruption can really be.
Despite the rightful focus on an enveloping mystery with the church, Coen still puts effort into developing the main lesbian relationship along with the plot. It never takes away from the sinister undertones of the town, but adds a casual relatability to the protagonist. Her sexuality is fully developed but not centric to her career or personal life. More films need to realize that a casual form of representation is still a form of representation and can be a breath of fresh air for audiences who are used to needlessly tragic endings. Although this relationship isn’t the healthiest, it manages a kind of tragic ending that is not purely romance-based.
Of course, the movie isn’t without faults. Plaza’s attempt at an indistinct accent is weaker than her co-stars, who either commit or drop the accent act entirely, and the ending leaves much to be desired from such a sudden twist. But no matter how someone feels walking away from the theatre or screen, the project is, without a doubt, an ambitious take on an ever-growing genre. One scene in particular reflects this to me. At some point, a bird continuously slams into the walls of a room it found itself trapped in. ‘Honey, Don’t!’ is reiterating to its audience that the pieces to the film were truly in front of us the entire time, no matter which direction we try to slam into with our assumptions.
Coen’s “Honey, Don’t!” is a film that easily fits into whatever gap you attempt to place it in. Unfortunately for most audiences, this seems to be an excuse to tear it apart without recognizing the value a film like this has for casual viewers. In the current world of film, there have been many queer stories shared, yes, but this movie offers something I and many others of the community have wanted: casual representation and a genuine good time.
