Starring Margaret Qualley, Aubrey Plaza, Charlie Day, Billy Eichner and Chris Evans, directed by Ethan Coen,  Honey Don’t will be released in Aussie cinemas August 21!
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Early example, their usual approach to violence, where it is used almost as a summation of the randomness of fate is sidestepped by having one of the most graphic scenes of maleficence in their canon open the film. It is shocking and arriving so early on acts as a bit of a red herring as underlining all that happens afterward is a simple love story.

Actor Margaret Qualley (Once Upon a Time… in Hollywood) in a real star turn plays Jamie, a young woman looking for love in mostly the wrong places. Her friendship with the conservative Marian (Geraldine Viswanathan) underlines the direction the film takes and as they come to define their relationship, your interest grows.

This road trip film with a twist sees Ethan crafting a work that references the excesses of the seventies and the emergence of gay culture acceptance in the nineties in a thoroughly entertaining way. There are also interludes like the psychedelic scenes that bring to mind The Joshua Light Shows from the Fillmore East and West days that add to the irreverence that makes the Coen’s work so much darn fun.
Rob Hudson
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Viewers with a basic knowledge of cinema history will be paid dividends as the references to a glorious past arrive with regularity. From references like the dance extravaganzas of Busby Berkeley to the screwball comedy of Cary Grant, the love and respect is up on the silver screen for all to see.

A familiar cast of characters is evident and Josh Brolin, George Clooney, Frances McDormand and Scarlett Johansson are just a few regulars that do justice to the always-impressive words of the brothers. There are also the usual underlining themes that give even a period piece like this relevance to today. The screenplay also features some classic Coen characters and the now almost pre-requisite absurd situations to mull over.

The Coen’s trend of following heavy fare with that of a more whimsical nature is intact and Hail, Caesar! is much less demanding than 2013’s Inside Llewyn Davis. It’s subtlety and irony might be lost on some but it’s a worthy addition to the Coen’s canon.

Rob Hudson
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Mr. Smooth, George Clooney directs alone but shares writing credit with the brothers Coen and Grant Heslov (Good Night, and Good Luck and The Monuments Men). The film lives in the same world that has occupied Joel and Ethan for many years now and it looks into the evil that regular people are capable of when they suspend all morality or give into the pack mentality.

As a time capsule of mid-century life in American it gets the nuances just right and you can easily get lost in the mid-day high ball and pleated skirts, that is until the body count starts adding up. It’s not just the wall paper that is a horror show.

There is always a fine line between social commentary and entertainment when movies make bold statements and Suburbicon has more than a few moments where the outrage is equal to the entertainment. It’s up to the audience to make the distinction.
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Viewers with a basic knowledge of cinema history will be paid dividends as the references to a glorious past arrive with regularity. From references like the dance extravaganzas of Busby Berkeley to the screwball comedy of Cary Grant, the love and respect is up on the silver screen for all to see.

A familiar cast of characters is evident and Josh Brolin, George Clooney, Frances McDormand and Scarlett Johansson are just a few regulars that do justice to the always-impressive words of the brothers. There are also the usual underlining themes that give even a period piece like this relevance to today. The screenplay also features some classic Coen characters and the now almost pre-requisite absurd situations to mull over.

The Coen’s trend of following heavy fare with that of a more whimsical nature is intact and Hail, Caesar! is much less demanding than 2013’s Inside Llewyn Davis. It’s subtlety and irony might be lost on some but it’s a worthy addition to the Coen’s canon.

Rob Hudson
www.hailcaesar.com.au