The Coen brothers can make basically any type of movie. They’ve both proved it with the countless classics given to us over the decades. While all the films retained their distinct voice, so many veer into different genres. They can be placed into a variety of categories, but inevitably, all fall under the umbrella of being a Coen brothers film. When it was announced the two would be making films separately, cinephiles everywhere were panicked. What could it possibly mean? It’s already been reported since then that the two are reteaming for a horror film, so no need to worry. And in fact, that small break allowed us to see what solo Coen brother films would be like. Joel gave us The Tragedy of Macbeth, one of the most astounding and singular films of 2021. And Ethan has now given us Drive-Away Dolls, a riotous exercise in bringing audiences back in time cinematically. Like I said, the Coen brothers absolutely know how to make a film, and they know how to make them incredibly well. So it pains me to say that this film didn’t win me over. The question that arose for me when watching was: just what kind of film does this want to be?
From the marketing to the very introduction, it seems Joel and co-screenwriter/wife, Tricia Cooke, had an idea in mind. The idea is a simple one, but one that would make classical genre fans giddy with delight. The brief scene feels ripped right out of a 1950s pulp noir paperback you’d find in a gas station, for a deal that’s akin to it being given away. There’s classic musical stings, Dutch angles, and neon signs aplenty. There’s even a dark alley made all the more ominous by the inclusion of stock audio cat yelping. Trust me, you know the exact sound I’m referring to. This is a pulpy movie through-and-through, even when it doesn’t always work. But the swing must be admired to some extent. The most frustrating element about the swings Cooke and Coen take in Drive-Away Dolls is how often they nick the ball. There’s always a tiny semblance of contact, but never the massive home run we have come to expect from a filmmaker like Coen. Everybody involved is in on the joke wholeheartedly. The issue more so appears to be that the joke becomes a bit too drawn out for its own good.
Of course, most of the genre films from the Coen brothers are fully self-aware. A majority of them, while remaining impactful, are never too self-serious. It’s clear Joel and Cooke have no interest in realism or self-seriousness with this film, and how the introduction wraps up is evident of such humor. Not to mention the ludicrous scene transitions at play, with the film also being edited by Cooke. It’s incredibly charming at first, and reminiscent of a time where films weren’t interested in realistic grittiness as much as they were just having a good time. But at the same time, what begins as a hard-boiled yet comical 50s homage appears to lose its way. With a filmmaker like Coen, it feels impossible to imagine that this is due to a lack of commitment to the bit. Yet fairly quickly, Drive-Away Dolls becomes far more interested in creating a pastiche of cinematic cliches throughout the decades rather than focusing on a particular one. And while the film remains comical throughout, it’s clearly at its strongest when remaining focused on a singular period. Luckily, the cast of the film remain acutely tuned in to the exact tone this film needs.
The film casts a wide net to catch a variety of oddball Coen characters that make their films soar. But at the core of the film lies Jamie (Margaret Qualley) and (Marian) Geraldine Viswanathan. Both have proven their comedic chops prior to this film, but the script and overall
hook of this film allows them to really command the screen. At the end of the day, this is a road movie meeting up with a small-time crime film in a seedy motel for a one night stand. It requires a complete commitment to the premise in order for the audience to be even remotely interested in what’s transpiring. It’s here that the leading duo shine, taking on every scene with complete sincerity in delivering the ridiculousness. In particular, it’s so refreshing to see Viswanathan channel what made her Blockers debut so deeply delightful. In this queer comedy, she’s charmingly subdued against Qualley’s mile-a-minute performance. At the very least, Drive-Away Dolls is able to capitalize on a genre that feels like it’s been on its last legs for ages. In an era of studio filmmaking where flat-out comedies are rarely made anymore for theaters, Coen and Cooke were able to deliver a film that revels in its own particular brand of silliness. Based on that fact, coupled with the Coen track record, this is a film that should still be seen in theaters. The reason? To let studios know that films can still be wholly ridiculous and find their own lane of success!
Focus Features will release Drive-Away Dolls in theaters nationwide on February 23, 2024.