Honey Don’t sets out to channel the moody mystique of classic detective noir, but this 2025 release struggles to live up to the genre it’s trying to honor. Instead of delivering a sharp, stylish mystery, the film collapses under the weight of its messy narrative, leaving audiences with a muddled and unsatisfying experience.

On paper, the premise has promise: a detective with a past they can’t shake, a web of deceit, and a city that feels just as guilty as its inhabitants. We have a detective with a troubled past, a web of deceit, and a city that feels just as guilty as its inhabitants. Even though its depiction of modern-day Bakersfield feels off, Honey Don’t tries to freshen up the formula by flipping old-school stereotypes. 

Instead of the whiskey-drinking, womanizing lone wolf detective, audiences get Margaret Qualley (The Substance) leading the film. Qualley is the undeniable highlight, fully embracing the noir aesthetic with her period-inspired wardrobe, sharp one-liners, and even an out-of-place transatlantic accent. The sexual tension she carries into every interaction is magnetic, and her performance often feels like it belongs to a much better movie. Watching her slink through smoky bars or spar verbally with would-be allies is genuinely a delight, and a glimpse of what Honey Don’t could have been.

Chris Evans (Captain America) also plays against type, once again trying to shake off his “goody two-shoes” Marvel persona. As a preacher secretly running a local sex cult while balancing ties to foreign mobsters, Evans leans into the darkness. His performance truly gave me the ick (in the best way). Of course, his natural charisma makes him compelling to watch.

Where Honey Don’t really falters is in its storytelling. The plot is scattered, with too many moving parts forced into a tight 90-minute runtime.  Extended backstory, family drama, and side characters, like the father and sister subplots, bog down the pacing instead of enriching it. The film shines brightest when it sticks to the mystery and dark comedy, but those moments are too few and far between.

I also had issues with the ending. The final twist feels rushed, underdeveloped, and unearned, leaving viewers with little payoff. For noir fans, it’s a frustrating reminder that trench coats and smoky bars aren’t enough without mood, grit, and a story worth unraveling.

The Roses (2025) – Sharp Humor, Intense Drama, and Brilliant Performances from Colman and Cumberbatch