Honey Don't! centers on sex and violence as primal forces that expose characters' feral instincts. The plot opens with a ruse: a coiffed woman removes a ring from a dead body in a sunbaked desert; the ring bears the Four-Way Temple insignia. Private investigator Honey O'Donahue treats the crash as suspicious and reports concerns to homicide detective Marty Metakawitch. Honey quickly develops a sexual relationship with officer MG Falcone. The film repeatedly employs neo-noir tropes—hectic criminal ventures and blunders toward justice—producing visceral energy that often reads as decorative, though occasional moments yield deeper substance.
The main elements of Ethan Coen's new film, "Honey Don't!," are sex and violence. Both involve profound sensations and potentially life-changing events; both reveal personality at its most feral and primal. Their prevalence in the movie occasionally suggests that Coen, by deploying his familiar neo-noir antics, is reaching for some essence-not only of his characters but of character itself, of the human animal.
A severely coiffed woman (Lera Abova) in leopard-print tights approaches an overturned car at the foot of a hill in a sunbaked desert, finds a dead woman inside, and removes a ring from the corpse's finger. An insignia on the ring turns out to be the logo of the Four-Way Temple, a house of worship, in the nearby city of Bakersfield, California.
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