Ask the average moviegoer how they chose their next screening and you’ll often hear something along the lines of “that movie looks fun.” We can’t deny cinema is a recurring form of entertainment, as for two hours—give or take—we are invited to let go of everyday woes and be enthralled by a spectacle of light and sound. Yet, that’s not all cinema is. For instance, horror is still one of the most profitable niches in Hollywood, despite enticing emotions most of us recognize as negative. As for sci-fi, the genre often forces us to face the insignificance of our own existence and realize how little we know about the cosmos and our own minds. Honey Bunch is not an entertaining movie. It’s awkward, uncomfortable, and even flawed. Nevertheless, this is a movie we are happy exists, as its genre-bending approach to filmmaking offers something truly unique.
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Honey Bunch follows married couple Diana (Grace Glowicki) and Homer (Ben Petrie) as they check in for an intense treatment in a desolate clinic in the wilderness. Diana has suffered a severe accident that forces her to use a cane to walk, and her mind struggles to put together fragmented memories of her past. The clinic, run by the mysterious Dr. Trephine (Patricia Tulasne), promises complete rehabilitation after only four days, the exact period of time in which the movie unfolds. Of course, things are not exactly what they seem. As Diana starts to have disturbing visions, Honey Bunch will mix horror and sci-fi tropes to make you question Homer’s true intentions and what’s actually happening in Dr. Trephine’s trauma center.
Rating: 3.5/5
| PROS | CONS |
|---|---|
| Unique genre-bending experience | The pacing might frustrate mainstream viewers |
| Shocking twist that feels genuinely fresh | Prioritizes mood over clear storytelling |
| Retro 1970s aesthetic that creates a thick atmosphere | Some scenes and arcs drag on for too long |
| Committed performances from the lead actors |
Honey Bunch Secrets Make It Truly Unique
It’s hard to say why Honey Bunch is interesting without giving away the movie’s biggest secrets, as the shock is part of what makes the experience so fresh. This is the kind of movie that is not afraid to pull the rug from under the audience’s feet, leading you to reinterpret everything that came before in a new light. You’ll need some patience to get there, though, as Honey Bunch‘s tendency to put mood over story leads to a lengthy opening arc that will certainly bother people used to fast-paced narratives. Yet, the destination justifies the journey, even when pacing gets in the way of Honey Bunch being more engrossing.
The setting of a secluded home is perfect to explore Diana’s paranoia, as her visions intensify, teasing the bizarre true nature of the place. Embracing this premise, Honey Bunch works as a classic psychological thriller, using Diana’s unreliable point of view to build a growing sense of dread. The movie’s 1970s setting also gives the center a retro-futuristic feel, as the supposedly scientific procedures of the trauma therapy look ahead of their time. On that note, filmmakers Madeleine Sims-Fewer and Dusty Mancinelli are committed to replicating the aesthetics of the decade, from dim lighting to sepia tones and shaky cameras, to the point where it would be easy to think Honey Bunch was produced a few decades ago. This aesthetic approach helps give the movie its distinctive identity, while also reinforcing Diana’s isolation due to the absence of any digital means of communication.
When Honey Bunch‘s twist happens, the movie seemingly changes its genre, amplifying the sci-fi elements that are present from the start. The revelation comes with more questions, and Diana becomes a surrogate to the audience while we slowly understand what the couple is doing at the clinic and what Homer’s motivations are. From that point on, Honey Bunch will balance grotesque imagery with sincere moments of tenderness, moving from appalling to moving in a way few movies can. Glowicki and Petrie are partially responsible for this genre transition never feeling abrupt, as they navigate the complexities of their respective roles without ever breaking character.
Not everything works in Honey Bunch. Some sections of the movie extend for far too long. Subplots also tend to feel disconnected from the main narrative. Finally, Sims-Fewer and Mancinelli are more concerned with the movie’s bigger themes of love, devotion, and obsession than with how the plot flows. All of that means Honey Bunch is not a movie you can recommend without caveats. Nevertheless, for genre aficionados who like to be surprised by a movie that truly defies categorization, Shudder’s upcoming release is an excellent addition to the streaming library.
Honey Bunch begins streaming on Shudder on February 13th.
Do you like it when a movie navigates different genres? Leave a comment below and join the conversation now in the ComicBook Forum!
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