Drive-Away Dolls Review: High Octane Performances Propel a Meandering Road Trip

Ready to go on a wild ride? Then buckle up for Drive-Away Dolls, Ethan Coen’s pedal-to-the-metal road trip comedy. When sexually adventurous Jamie and her buttoned-up best friend Marian decide to drive a “rental” car from Philadelphia to Florida, they get way more than they bargained for. Not only does their ride come with some unexpected cargo that catches the attention of a couple of bumbling crooks, but the trip itself will push their friendship into uncharted territory.

As she often does, Jamie talks Marian into throwing caution to the wind. She maps out a route down south filled with tangos with strangers and pit stops at tongue-in-cheek landmarks like The Butter Churn lesbian bar. Meanwhile, the gangsters (picture Doc and Curly from the The Three Stooges if they lived on a diet of bourbon and sleaze) trail the gals in hopes of recovering a mysterious briefcase. In the mayhem that ensues, buttons get popped, sparks catch flame, and Jamie and Marian’s relationship transforms in ways neither expected.

So strap in alongside Qualley and Viswanathan and allow director/co-writer Ethan Coen (one half of the infamous Coen brothers) to take you for a screwball spin you won’t soon forget. His script, penned with wife Tricia Cooke, adds a new dimension to the brothers’ trademark crime-gone-awry motif, fueled by healthy doses of sisterhood and sexuality. It’s a rowdy, raunchy ride down south that goes everywhere you hope it wouldn’t.

An Unlikely Pair Hits the Road

At the story’s core is an odd couple road trip involving two friends who couldn’t be more different. There’s sexually insatiable Jamie, a fast-talkin’ Southern gal who gets kicked to the curb by her cop girlfriend after one indiscretion too many. And then there’s Marian, her timid, bookish lesbian BFF who opts for flannel shirts over flings. After yet another relationship flame-out, Jamie decides to join the mild-mannered Marian on her trip down to Florida to visit her aunt.

In need of cheap transport, the gals pick up a drive-away car from a shady dealership unaware that the trunk contains a stolen briefcase loaded with contraband. Cue the baddies – a trio of fumbling felons hot on their trail trying to recover the mysterious cargo. As they careen down the coast, Jamie can’t resist detouring to eccentric landmarks and planned pitstops – mostly of the female variety. Meanwhile, the uptight Marian just wants to stick to the map and maybe, just maybe, let loose a little bit under Jamie’s contagious spell.

As the title suggests, Drive-Away Dolls centers around this mismatched pair and the worlds they each represent – one carnal and impulsive, the other cerebral and restrained. Qualley nails Jamie’s bold confidence and velocity, while Viswanathan lends an endearing sincerity to buttoned-up Marian. Their chemistry simmers rather than sizzles, but that somehow fits the reluctant dynamic between two friends sliding slowly from platonic to romantic attraction.

Sprinkled around the leads is a classically Coen-esque ensemble of loons and goons. From Jamie’s spurned ex to a trio of bumbling crooks to the drive-away dealer himself, the supporting cast adds quirk and menace to the cross-country proceedings. Slotnick and Wilson channel early Coens as the oddly philosophical, vaguely threatening comic foils to Jamie and Marian’s more grounded journey of self-discovery.

By setting the story against the backdrop of 1999, Coen and Cooke mine the uncertainty around Y2K and the impending end of an era. The looming turn of a new century parallels the transformation each woman undergoes over a short span of highway, intoxicated by nostalgia, liberation and maybe even love. It’s a familiar framework with an inventive twist as only Coen can deliver.

Madcap Mashup of Past and Present

Fans of the Coen cannon will quickly detect Drive-Away Dolls’ DNA. With its fast-paced screwball energy, crime-fueled plot and moments of shocking violence, the movie bears all the Brothers’ stylistic hallmarks. Yet Ethan flexes some new tonal muscles as well, blending traditional Coen absurdity with more modern elements.

The film often mirrors early capers like Raising Arizona with its band of bumbling crooks and heightened hijinks. However, the dialogue speaks in a decidedly more contemporary voice, playing up explicit sexual references and imagery versus old-school innuendo. Likewise, the psychedelic interludes featuring Miley Cyrus as an avant-garde artist drop some winking modern context into the late 90s period setting.

That balancing act between past and present in both form and content aptly reflects the lead duo themselves. Jamie pulls from the manic and mannered lineage of Coen favorites like Nicholas Cage and Holly Hunter – magnetic, verbose and more than a little unhinged. Meanwhile, Marian ushers in a grounded, indie spirit to play against her partner’s unrelenting energy.

Viswanathan’s strained chemistry with Qualley also nods to modern trends. Unlike classic screwball couplings defined by their electric friction, this odd pair’s dynamic unfolds slowly and awkwardly. The journey charts new terrain as they fumble toward intimacy, both comedic and romantic.

So while Drive-Away Dolls pays its respects to the Coen catalog, it also forges its own offbeat identity. The movie mashes up zany nostalgia with a more authentic modern voice, held together by Ethan’s signature blend of quippy dialogue, sudden violence and general air of whimsy. Is it familiar? Sure. But it’s also unlike anything you’ve seen from the Brothers before.

Ethan Finds His Footing

As his first solo venture wearing multiple hats, Drive-Away Dolls shows Ethan Coen feeling out a new directorial voice. Visually, it may lack some of the technical rigor and compositional brilliance of previous efforts made with brother Joel. Yet a loose, freewheeling energy permeates both the imagery and performances.

Shooting on location grounds the narrative across various non-descript American landscapes. Motels, bars and stretches of blacktop track the women’s descent along the Eastern seaboard. It’s a grittier, less stylized portrayal of country than some past odes.

The visual language otherwise matches the film’s madcap spirit. Cheesy scene transitions, distorted fish-eye lenses and hazy dreamscapes reinforce the chaotic, unpredictable voyage. While these devices may feel a bit heavy-handed or plainly indulgent, they mesh with the era and attitude.

Now and then, Ethan still stops to capture visceral moments with emotional weight. A sultry swimming pool at night bathes Marian in aquatic hues as she mulls a tough decision. The camera holds on her face, allowing the supporting visuals to deepen the mood. Brief yet evocative compositions like this prove Joel doesn’t own all the visual sensibility.

But the most significant development is Ethan’s emerging knack for directing actors, drawing rich and resonant performances from both leads. He juggles Qualley’s tour de forceball of energy against Viswanathan’s subdued relatability with skill, playing them off each other for laughs and pathos.

Though still finding his footing, Ethan shows the early signs of a confident director charting his own course both visually and in the actor’s arena. It will exciting to see how this solo voice evolves in future works.

A Showcase for Formidable Up-and-Comers

Drive-Away Dolls provides a springboard for two of Hollywood’s fastest rising talents. As motor-mouthed Jamie, Qualley attacks the role with vigor, fleshing out a character that easily could have become a caricature. Nailing Jamie’s exaggerated Southern twang and sauntering physical bravado, she brings depth to the free-spirited philosophizer. Even while oozing sexuality, Qualley finds moments of honesty and vulnerability that suggest Jamie’s anarchic antics hide deeply-rooted insecurities. It’s a high-wire act blending uncaged chaos with sympathetic appeal.

Meanwhile, Viswanathan continues to prove herself as a quiet powerhouse brimming with charisma. Forced to play the straight woman to Qualley’s human tornado, she finds endless shades of frustration, curiosity and longing in Marian’s sheltered psyche. Her immaculate timing and gift for revealing character through microexpressions lend the performance beautiful nuance. And when Marian finally starts to emerge from her shell, Viswanathan makes her liberation feel well-earned and stirring.

Hijacking her few scenes, Feldstein nails Jamie’s rage-filled ex Sukie, her barely contained fury adding a dangerous energy whenever she appears. On the flip side, veteran character actors Domingo and Damon seem underutilized in generic villainous roles. The cast of loons and goons filling out the world boast infinite color, even when the script fails to make the most of them.

The odd couple chemistry between leads Qualley and Viswanathan admittedly falls short of white-hot. Yet that strangely suits Jamie and Marian’s underlying dynamic as they gravitate from friends to reluctant lovers. Meanwhile, both stars shine brightly alone, stellar performances almost upstaging the film itself.

An Ode to Liberation and Friendship

While featuring plenty of titillation, Drive-Away Dolls champions female empowerment over empty eroticism. Jamie embodies a bold ownership of sexuality, indulging her voracious appetite unapologetically. Meanwhile, Marian’s journey depicts an understated yet powerful awakening as she wades into romantic waters on her own terms.

Through this contrasting dynamic duo, the film explores different attitudes around intimacy. Jamie lives lustily in the moment, moving fluidly from lover to lover regardless of commitment. The more demure Marian still seeks connection grounded in emotional foundation. But over the course of their adventure, each woman comes to appreciate the merits of the other’s approach.

The threat of stifling conservatism also looms within the late-90s backdrop, imperiling Jamie and Marian’s liberating agenda. But the characters rebel through jubilant hijinks, laying claim to independence and identity.

This context provides a resonant parallel to our current era, where hard-won rights and freedoms face renewed attacks. Drive-Away Dolls suggests there’s power in forging your own path by drowning out reactionary voices with laughter, loyalty and love.

That message comes through most purely in Jamie and Marian’s ever-deepening bond. As differences melt away through conversation and shared experience, they build mutual understanding brick by brick. The road trip structure sparks evolution, fusing fun with wisdom about judging others too quickly.

So take pleasure in the film’s prurient interests, but don’t overlook its insight about connection. With warmth and humanity, Drive-Away Dolls advocates embracing both yourself and your fellow travelers along life’s long and winding highways.

A Quirky Detour Worth the Fuel

As solo vehicles go, Drive-Away Dolls proclaims Ethan Coen’s talent for propulsive storytelling and eccentric humor can soar just fine without wingman Joel. Yet it’s a bumpy ride at times, one that tries packing too much quirk and not enough substance.

By splitting the difference between trademark Coen absurdism and heightened sexuality, Drive-Away Dolls only intermittently clicks into a satisfying gear. Story takes a backseat to vibes and vulgarity as zaniness overwhelms narrative necessity. It begs the question whether Ethan’s unfiltered ideas benefit from Joel’s disciplined restraint – and vice versa.

But the inspired pairing of Qualley and Viswanathan offers enough voltage and verve to power through pitstops. Their chemistry-in-the-making offers satisfying dramatic friction and showcases both performers at the top of their games. For these stellar breakout turns alone, the trip merits your tank of gas.

Uneven yet eminently watchable, Drive-Away Dolls makes no apologies for its gleeful detour into the ditch of delirium. Buckle up for a bumpy backroads romp where the sore butt from uneven roads gets balanced out by permanent grin from start to finish. Ethan Coen’s solo shot may meander, but the ride still goes down smooth.

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