Review: ‘Drive-Away Dolls’ – A Quirky Blend of B-Movie Homage and Coen Classic Nods
Coen brothers fans have long anticipated the solo fiction directorial debut of Ethan Coen, but “Drive-Away Dolls” may not be the film they were hoping for. This bawdy road comedy, which marks Ethan’s first movie without his brother Joel’s involvement, is a mixed bagatelle of B-movie riffs, late-90s anti-style, lesbian raunch, and retreads of beloved Coen classics. While it certainly has its moments, the film ultimately falls short of expectations, leaving audiences feeling underwhelmed.
Set in Philadelphia in 1999, “Drive-Away Dolls” follows the story of Jamie (Margaret Qualley), a sexually adventurous free spirit who finds herself dumped by her girlfriend Sukie (Beanie Feldstein). Seeking solace, Jamie moves in with Marian (Geraldine Viswanathan), a conservative cubicle dweller. The two embark on a journey to Tallahassee, unaware that the drive-away service they signed up for has given them a car carrying valuable contraband.
Their mishap catches the attention of a local crime organization led by the Chief (Colman Domingo), who sends two henchmen to retrieve the suitcase. What follows is a zany tour of the South’s finest lesbian bars and basement parties, with Jamie and Marian using their wit and resourcefulness to outsmart their pursuers at every turn. However, the plot takes a backseat to the film’s focus on delivering naughty jokes and pulpy period references.
The lead actresses give committed performances, with Qualley delivering frank dialogue in a molasses-sweet Texas twang and Viswanathan showcasing her comic talent. However, Viswanathan’s potential is wasted on straight-woman reactions and muttered asides. The male characters, played by Joey Slotnick and C.J. Wilson, attempt to channel the spirit of Steve Buscemi and Peter Stormare’s characters in “Fargo,” but their patter falls flat, lacking the darkly comedic brilliance of the Coen brothers’ masterpiece.
While “Drive-Away Dolls” has its bright spots, such as Bill Camp’s surly realism and a well-timed third-act cameo, it ultimately feels like a film designed to defy serious criticism. The cartoonish violence, crude sexual banter, and retro-tastic aesthetic are meant to be enjoyed without overthinking. However, the film’s self-amusement becomes strained and overcompensating, turning what could have been a lascivious lark into a frenetic and overbusy slog.
Despite its flaws, “Drive-Away Dolls” may find success as a kitschy cinematic curio. It embraces its playful nature, filled with lighthearted rogues and scamps, inviting audiences to simply go with the flow. However, it lacks the substance and staying power of Coen classics like “Fargo” or “The Big Lebowski.” It’s an enjoyable ride while it lasts but ultimately leaves viewers feeling empty and disposable, much like a discarded Dixie cup on the side of the road.
“Drive-Away Dolls” is rated R for crude sexual content, full nudity, profanity, and some violence. The film runs for 84 minutes and is currently playing in theaters.
