You would think that a film from one of the Coen brothers would draw a lot more attention and interest from the film community than this slightly misbegotten exercise in excess has received. I didn’t hate the movie but I was surprised at how over the top some of the things were in the film, and that the director’s choices were also obviously designed to provoke and be distinctive, without being particularly creative. Ethan Cohen has created another crime drama about off-center characters, and crimes gone bad. From the makers of Fargo and No Country for Old Men, this is natural except that the comedic elements are created to accentuate the odd instead of using those odd elements to highlight small parts of the story. The result is an over full collection of vulgarities, violence, and elegant dialogue that would work a lot better if it was used more sparingly.

I had originally planned for this to be a film that we covered on the Lambcast. Unfortunately not a single one of the podcasters or bloggers of our 2,000 members signed up to talk about it. This should have been a signal to me that there was something not quite right about the project. I read after deciding to cancel the podcast, that the original title of the project was Drive-Away Dykes. The change in title was probably designed to avoid putting off people who didn’t care to have that element of sexuality front and center in their crime story. However, a title change doesn’t change the script, and we still get lots of lesbian love, phallic foreplay, and some of the most vulgar and descriptive language that you can imagine. While there are moments of nudity in the film the vast majority of those things that sexualize the film are in the dialogue. And they are not sexy but rather obnoxiously provocative.

I’m not sure that this is a film that will be embraced by the LGBTQ+ community, because the stereotypes in the film seem to be at odds with what would be a more inclusive approach. There is a caricature of a lesbian relationship that seems particularly offensive, and there are sexually based sequences that seem to cater to offensive stereotypes about lesbians. I am also dubious about the desirability of flexible phalluses as the love toys preferred by committed gay women. For a movie about the empowerment of lesbians, the perspective it takes seems to be one of amusement rather than real agency.

Margaret Qualley and Geraldine Vishwanathan, are the two leads and each of them has some pretty effective moments in the film. Qualley was familiar to me from “Once Upon a Time in Hollywood”, where she played Pussycat, the hippie girl that gets Brad Pitt’s character up to the Spahn Ranch where the Manson family is living. Vishwanathan, was very appealing 3 years ago and a fill my liked quite well, “The Broken Hearts Gallery”. In this film she plays a more innocent character to her partner’s Wild Child. The story involves a mis-matched pair of women who take a road trip and inadvertently have in their possession what at first seems like a McGuffin. Later the secret does in fact get revealed. You might think it was drugs, because of the violence involved and obtaining the suitcase with the soon to be revealed contents, but unlike the mystery of the suitcase in Pulp Fiction, we finally see what the contents are, and it’s another one of the crude jokes that the film is based on.

The girls are pursued by a team of inept criminals, similar to the pair in Fargo, or Pulp Fiction. Their dialogue is also frequently over the top, with just enough wit to make it interesting but not enough to allow it to be compared to some of those sparkling sequences in those other films. When we discover what the whole Enterprise is about, it makes even less sense, because most of this could be dismissed without anybody having to be murdered or any money exchanged. A simple denial would be more than sufficient to eliminate the risk that the ultimate antagonist seems to feel exists. We have no providence for the relics, except some perv collectors. The movie has a couple of prominent actors in secondary roles that might almost count as a cameo. Pedro Pascal shows up at the start of the movie, and then a part of him continues to be a present in the film. He was perfectly fine but I’m not sure why director Cohen thought that it was necessary to have such a well-known actor in the part. Conversely when Matt Damon shows up near the end of the film, we understand his casting because the film needs someone with some charisma, to become the antagonist that the movie needs at this point. Once again though, his motivation seems to be highly exaggerated. Denial is not just a river in Egypt, it is a legitimate strategy for public relations. It just doesn’t seem to have been considered.

I probably already given away more than I should have about the film. There are three or four transition sequences that feature psychedelic visuals and remind me of a Saul Bass James Bond title sequence. They don’t make much sense, until the end, and even then they don’t really do much to make the film interesting, they mostly just make it weird.  

There are plenty of films that go over the top as a stylistic choice to try and make the movie interesting to a specific audience. I enjoyed the movie “Shoot ‘em Up”, from more than a decade ago, but by the time it was finished I was bored by the excess. This film provides excess on a different subject, and I was bored by it in the first 20 minutes. There is some clever stuff here, and I think you will laugh a few times, but I also think you’ll shake your head and say ” I’ve seen this before”. There’s nothing new to see here, it’s recycled and overdone. You’ll forget about it almost immediately, which is not something I’ve said about many Cohen Brothers films before. Perhaps Ethan needs his brother Joel, to rein in the more preposterous elements of the movie, and make it feel less like a cartoon and more like a satire of crime dramas. That is really what it wants to be. You can safely skip this, but if you watch it at home later, maybe you should send your parents to bed before it starts, trust me it’s a little awkward.