'Drive-Away Dolls' Movie Review: A Wild and Crazy Ride

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Let’s face it—the start of 2024 didn’t exactly roll out the red carpet for movie enthusiasts. January often gets branded as the dumping ground for movie letdowns, leaving us eagerly waiting for February’s promise of some solid rom-coms. So, when Ethan Cohen’s Drive-Away Dolls trailer first crossed my path, it sparked a flicker of hope that perhaps we were starting to turn the corner into some of 2024’s better films. Was it actually a turning point? For me, not so much. However, I do think this film has the potential to be a favorite for some fans.

Drawing inspiration from the quirky charm of B-movies, Drive-Away Dolls follows the liberated free-spirit Jamie, nursing the wounds of another failed relationship, and her timid companion Marian, who’s in dire need of letting loose. In pursuit of a new beginning, the pair embarks on an impulsive road trip to Tallahassee. However, their journey takes an unexpected turn when they find themselves entangled with a bumbling gang of misfit criminals. Check out the trailer below.

Drive-Away Dolls Movie Trailer

Drive-Away Dolls Movie Review: What I Did and Didn’t Like

With a 1-hour and 24-minute run time, the film feels well-paced. In fact, I typically love these shorter run times as these movies tend to keep the narrative tight and focused, ensuring that every scene serves a purpose without overstaying its welcome. Short run times also demand more creativity and precision from filmmakers, resulting in a film that leaves audiences both satisfied and wishing for just a little more.

As Ethan Coen separates from his brother Joel to chart his own course with this film, which he co-created with Tricia Cooke. The movie itself is a caper that dances on the edge of classic B-movie charm and contemporary comedy. Yet, for me, the movie resembles a vivid collage that, while striking, doesn’t quite complete the picture.

Despite the criticism I’m about to dive into, I do believe there’s a certain respect to be paid towards the attempts at innovation and breaking molds, particularly in an industry that too often plays it safe. Drive-Away Dolls may not have been my cup of tea, steeped as it was in a blend of chaos and eccentric charm. But therein lies the beauty of cinema: its subjective nature.

What fails to capture one imagination might very well be the spark that sets another ablaze. Coen and Cooke have crafted a film with the potential to cultivate a devoted following, perhaps even achieving cult classic status.

Story

At its heart, Drive-Away Dolls is a tale of liberation and misadventures, featuring two characters as different as night and day. You have Jamie in the aftermath of another relationship that couldn’t weather the storm, and Marian, whose life screams for an ounce of spontaneity. Together, they find themselves on an impromptu road trip to Tallahassee. Their journey, however, detours into the absurd when they cross paths with a crew of criminals who couldn’t organize a robbery at a lemonade stand. This premise is fertile ground for Coen’s unique brand of storytelling, imbued with a quirky flavor that fans of his and his brother’s work will find familiar.

The script swings like a pendulum between slapstick humor and touching moments of self-discovery, a testament to Coen and Cooke’s ambition to blend genres and expectations. However, there are several reasons this film didn’t work for me. And, at the top of that list was the dialogue, particularly between the duo of idiotic henchmen carrying out the dirty work. It was a notable low point for me. Their exchanges, which were supposed to provide comedic relief, often landed with the subtlety of a lead balloon, feeling more contrived than clever. And I don’t think it was an issue with the acting. It felt like an issue with the script. The actors were doing their best with what they had. Their lines undercut the potential for these characters to be endearingly bumbling and made their scenes challenging to watch without a wince.

Such moments were symbolic of the film’s broader struggles with tone and consistency, highlighting a script that occasionally seemed to favor quirkiness at the cost of genuine engagement or comedic payoff.

Drive Away Dolls — Photo Credit: Focus Features

The Acting, Tonality, and Comedy

On paper, the movie promises a wild ride populated with larger-than-life characters. And, for some, it will deliver just that. Yet, despite the best efforts of a star-studded cast led by Margaret Qualley and Geraldine Viswanathan (whom I simply adore), the performance feels like an orchestra playing slightly out of tune. Qualley’s portrayal of Jamie brings a raw, unfiltered energy that is both her charm and her curse, while Viswanathan’s Marian presents a more restrained, albeit sometimes overshadowed, presence.

The movie reveals its audacity to be different and stand out in a sea of formulaic comedies. And for that, I truly applaud the film. However, this willingness to defy convention is where Drive-Away Dolls finds its strength and, paradoxically, its weakness. The comedic elements, while inventive, often feel misplaced, stretching the fabric of believability until the seams are nearly visible.

This film is undeniably unique — a bold attempt at weaving humor, action, and a quirky narrative into a tapestry that some will find delightful. For others, like myself, it’s a reminder that not every piece of art will resonate with every movie fan.

Overall

Drive-Away Dolls is a wild ride for audiences. But, for me, it was a brash endeavor that didn’t work. That being said, I do think that Ethan Coen and Tricia Cooke’s creation here is a unique comedy caper that, while not appealing to all, contains the ingredients for developing a loyal fanbase and cult classic status.