Ethan Coen’s solo directorial adventure without brother Joel (of the favored duo), Drive-Away Dolls, is a dizzying spectacle that’s both a hit and miss depending on the angle we examine it from. Margaret Qualley and Geraldine Viswanathan put on fantastic performances, it’s a riveting take on the friends-to-lovers trope, and the film’s runtime lends itself to a story that doesn’t get dragged on to unnecessary lengths.
Drive-Away Dolls does reach multiple thrilling climaxes, but the film simultaneously takes segues that just aren’t great. In what is largely a showcase of liberating freedom in an otherwise overly conservative state, did we really need to watch the characters having sex with a mold of the crooked senator’s p–nis? Of all the people in the world? No, no, we did not. And quite frankly, without that ick in the equation, the film could have been a bonkers joy ride from start to finish.
Drive-Away Dolls Should’ve Leaned Harder Toward the Romance
Though the screenplay by Coen and Tricia Cooke has some engaging beats that propel the story forward while advancing character development, its reluctance to lean deeper toward vulnerability is ultimately where the film falls flat. It then becomes yet another disclosure of the wrong place and wrong time, with a slight twist. And while such stories have their place, it doesn’t operate with as much intensity when there’s so much stunning chemistry between the leads.
Qualley and Viswanathan have such brilliantly bold chemistry that it’s a shame the film doesn’t dig deeper into exploring the layers and emotions that continually fortify their relationship. Their performances individually are exceptional, and it’s what they bring jointly that makes the entire film worth watching. It’s not a chore to follow them around because, in the little screen time we get, there’s enough development to keep us invested in both of them. Drive-Away Dolls doesn’t shy away from female sexuality or unapologetic pleasure, proposing a raunchy exposure that is still tastefully done, so it makes little sense that it doesn’t touch on the profundity of friends becoming something more.
Their relationship is the beating heart the contrived pacing could have jumped off from, giving viewers a moment to catch their breaths from the constant action. The brief scene we do get is then sullied by the eventual morning (with the senator’s –), which again forces this question of why filmmakers are scared to explore the post-sex intimacy that brings vulnerability and sincere communication to the forefront. And this isn’t that kind of movie—sure—that much is abundantly clear from the very first scene, but it’s what stops it from being something wholeheartedly memorable.
Still, for what it’s worth, Drive-Away Dolls is mostly enjoyable with other stars such as Colman Domingo, Beanie Feldstein, a brief cameo from Miley Cyrus and more. The humor outside of the leading women is dry and generic at times. Pedro Pascal is criminally underused, and Matt Damon’s cameo does absolutely nothing. Yet, despite how much is left on the table, or in this case, on the road, it certainly helps that the film ends in a hopeful manner, making it a relatively enjoyable and twisted time at the theaters.
Drive-Away Dolls is now playing in theaters
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