Drive-Away Dolls (2024)

As furiously funny as it is helplessly horny, the film feels exactly like a Coen brothers picture yet entirely its own thing, with strong leads and a shaggy-dog story about shagging.

The critic calls the film riotously funny from start to finish and as solid a comedy as the Coens ever made together. They single out the manic energy, cartoonish absurdities and frank sex-positive depiction for praise.

The critic describes a playful madcap queer road movie and crime comedy with bawdy humour and a freewheeling modern sensibility. They single out the central couple and riotous fun for praise while noting the old-fashioned direction may not suit all tastes.

The critic praises the film's gleeful ribbing of genre tropes and tonally adventurous approach to noir and road movies with high lesbian camp. It pays homage while moving to its own rhythm in a queer punk tradition.

The critic calls it a joyous, deeply silly but smart lesbian road movie that is a playful pick-me-up, praising Qualley's performance and the madcap playfulness.

The critic sees it as a wild Sapphic joyride with familiar Coen hallmarks but notes a discernible Joel-shaped hole in the execution. Praises the leads and cameos while calling it quite long enough at 84 minutes.

Ethan Coen strikes out alone with a frivolous frolic that wears its slightness like a badge of honour, a comedy steeped in déjà vu yet featuring a highly likable duo and entertaining cameos.

The critic finds the film loose-limbed goofiness that mostly reminds one of better movies, sustaining itself just enough over its short runtime but lacking weight or originality. It evokes Raising Arizona and The Big Lebowski without matching them.

The critic finds the self-consciously trashy lesbian road movie has some laughs but often feels dated. They single out the retro 1990s setting and bawdy humour for both praise and criticism, noting it captures the era authentically but remains stuck there.

The critic sees it as a forgettable pastiche of better Coen-style road movies and quirky comedies, with stale jokes and little originality. Feldstein provides some laughs, but the film overall lacks substance.

The solo Ethan Coen effort is good fun with a raucous sapphic twist on Thelma & Louise but feels incredibly lightweight, with some jokes missing the mark and characters feeling underdeveloped.

The critic finds the oddball crime caper strains for quirky humour and lacks the magic of earlier Coen brothers projects. They single out the one-note characters and frantic rather than inspired tone for criticism.

The critic sees the film as a flatly methodical hybrid that feels like a misfire from the Coens' wastepaper basket, with some redeeming features but ultimately unsuccessful in leaving the brother behind.

The critic calls it a sexy, shaggy queer crime caper that confidently straddles genres as a stylishly violent action adventure and self-aware lezzie road trip. Geraldine Viswanathan and Margaret Qualley are highlighted as dreamy and twangy leads.

The critic calls it trashy fun that is exceedingly disposable, delivering crude randy entertainment at a brisk pace but ultimately failing to justify its own existence.

The critic praises the uproarious, sexy and feminine B-movie road trip as a genuinely entertaining Coen-style caper that captures quirky zany energy with bold chances and palpable fun from the cast.

The critic finds the film a saucy, silly queer road-movie caper that rattles along watchably enough despite a flimsy premise. Viswanathan's quiet seriousness anchors the story, with strong supporting turns from Feldstein and cameos.

The critic finds the knockabout humor strained and forced rather than funny, with the plot feeling like strung-together vignettes. Beanie Feldstein stands out for bringing hilarious fire to her role.

The critic sees the film as leaning on comical violence and genre winks for a relationship story of lesbians on the road but finds the erotic whimsy forced and the comedy febrile with little dramatic resistance.

The critic finds the leaden romp stalls out with inert staging, dead jokes and overblown performances despite its promising setup of two friends on a 1999 road trip entangled with criminals.

The critic hails it as a light queer crime joyride whose standout is Margaret Qualley’s free-spirited libertine performance that brings personality and star quality to Ethan Coen’s solo effort.

The critic describes the film as an utter hoot with infectious wild rainbow energy and playful queerness but notes it feels weirdly dated in 2024. It singles out the gleeful, cartoonish depiction of lesbian characters and their adventures for praise.

The critic finds the film bristles with a good-natured complicity and easy chemistry between the leads, with sweet and tender scenes between the protagonists. They note some off elements like choppy pace but highlight the fresh, raucous eroticism and left-leaning tone.

The critic finds it a disposable but not entirely unentertaining minor Coen effort and an affectionate tribute to hard R drive-in B movies. The game cast and the fun the filmmakers have with the rolling roadshow are singled out for praise.

The critic says it delivers a fun lesbian road trip with tremendous style, broad jokes, lewd sex, and loony transitions, plus delightful supporting turns. They note it feels slight with overly familiar beats and thin characters that prioritize gags over depth.

The critic says the film hits speedbumps because the script lacks nuance in establishing the protagonists as believable friends. They praise the on-screen chemistry between Qualley and Viswanathan but note the relationship feels unhealthy and underdeveloped.

The critic calls it a mixed bag that is occasionally charming as a road trip comedy but lacks the sharp wit of typical Coen work. They single out Geraldine Viswanathan as a standout for her fully realized character finding herself.

The critic expresses deep disappointment in Ethan Coen's film, calling it uneven, juvenile, and a waste of talent from a favorite filmmaker. While noting Geraldine Viswanathan's performance stands out, the rest are seen as cartoonish and lacking humor.

The critic calls the film a dated misfire that is painfully unfunny, with juvenile humor that feels exploitative and titillating. The overemphasis on sexualizing the leading ladies and the thin, directionless plot are singled out for complaint.

The critic calls it an end-to-end comedy about two lesbians on a road trip ensnared in a caper while growing as people. They single out the terrific dialogue that distinguishes personalities and the vibrant, playful sound design and editing.