A Title That Feels Like a Warning: The title “Honey Don’t!” sounds light and cheeky, but it ends up working more as a warning. Unless you’re a die-hard fan of the Coen Brothers, you might want to avoid this second solo effort from Ethan Coen as both director and co-writer.
A Promising Start With Strong Ingredients
On paper, the film has everything for a clever, modern noir. The ensemble cast features Margaret Qualley, Aubrey Plaza, Chris Evans, Charlie Day, Billy Eichner, and Talia Ryder. Cinematographer Ari Wegner (The Power of the Dog) captures California’s Bakersfield in faded postcard-like colors. Costume designer Peggy Schnitzer nails the retro vibe throughout. Veteran Coens collaborator Carter Burwell adds a Western flavor to the score, setting up mystery in the background.
Script Problems Hold the Film Back
But after last year’s stronger Drive-Away Dolls (also co-written with wife Tricia Cooke), this project feels thinner. The dialogue has rhythm and a rustic charm, and all the characters seem somewhat shady, with Chris Evans pushing into complete sleaziness. Yet, there is no real depth or weight to them, leaving the story flat.
Honey O’Donohue Takes the Lead
Margaret Qualley plays private investigator Honey O’Donohue. She arrives at the site of a fatal car crash but quickly senses it was no accident. The victim had contacted her a day earlier, raising her suspicion.
Meanwhile, Charlie Day plays a clueless homicide detective who keeps awkwardly asking Honey out, even though she makes it clear that she is not interested in men. This adds comic relief but little to the larger mystery.
Qualley shines as she carries herself with swagger, stylish outfits, and quick wit. She handles the verbal exchanges well, though the script does not give her sharp enough lines at critical moments.
Chris Evans Plays a Predictable Villain
The case takes Honey to a storefront church ruled by Rev. Drew Devlin (Chris Evans), a preacher who uses charm mixed with menace. Evans has taken darker, layered roles recently (Materialists was one of his best performances), but here, his role is too obvious and cartoonishly evil.
One funny exchange stands out, where Devlin asks Honey if she drinks. She fires back: “Heavily, it’s a point of pride.” Unfortunately, the rest of the performance is not written with as much spark.
More Drama, More Characters
As Honey digs deeper, more murder victims show up. She also has to protect her niece (Talia Ryder) trapped in a bad relationship. At the same time, she begins a fiery affair with Aubrey Plaza’s MG, a cold but magnetic police officer. Their passion is shot intensely, though one public scene in a busy bar stretches believability.
Near the end, their relationship suddenly shifts tone in a way that feels jarring and unearned, leaving the audience confused whether it was meant as serious or campy.
Style Over Substance
The film often wanders, making it easy to forget the main case Honey is supposed to be solving. Maybe this was intentional, similar to the tone of The Big Lebowski, where the fun came from characters and atmosphere rather than the plot. But unlike that film, Honey Don’t! lacks unity and resonance.
There are too many characters and half-baked subplots. When a supposed “emotional reveal” is introduced with a long-lost relative, it feels hollow because the film hadn’t built up to it properly. As the finale approaches, the movie drags through frustrating, scattered scenes.
Also Read: Maareesan Movie Review
Verdict: A Missed Noir Opportunity
Honey Don’t! wants to be quirky, stylish, and mysterious, but it falls apart because of weak writing and messy execution. Qualley and Plaza have strong moments, and Evans clearly enjoys playing against type, but none of it is enough to save the film.
At best, it’s a fun distraction in places, but as a full noir experience, it doesn’t hold up. Ironically, the best part might just be the inventive opening credits.
