In other words, “Honeydew” prevents the public from understanding or rooting its core couple, Rylie (Malin Barr) and Sam (Sawyer Spielberg), a curious doctoral student who searches for a fungal parasite infecting cows and dwellers. a rural area, and her boyfriend rash, respectively. After a virtually incomprehensible opening sequence that involves Rylie watching and reading material related to her study in a car, Sam loudly springs from the lines of a script in a bathroom and an old woman strangely handling wheat – all of it. is accompanied by recurring patterns of frenzy. the editing, the jaw-dropping split screens, and the nail-on-a-chalkboard sound design – the kind of movie Rylie and Sam are in quickly reveals itself. As soon as the duo set up their night tent on an open field belonging to an old pipe-smoking farmer who is hostile to intruders, our experience with “Honeydew” boils down to a boring game of waiting until their fate is over. sealed.
Written jointly by Milburn and Dan Kennedy (also the DP here), the story attempts to generate some depth around the couple’s dynamic, dealing with the toxic intrigue of their relationship for all it’s worth. Unfortunately, like everything else in “Honeydew,” this attempt remains frustrating at the surface level. Faced with an ultimatum to leave their campsite in the middle of the night, the two discover that their car is unable to operate due to a dead battery. (Is it Rylie’s fault, who might or might not have left the headlights on? Is it Sam’s? Or that odd-looking child who keeps popping up haphazardly on their journey?) Soon, a desperate walk without cell coverage brings them to the farm of the aforementioned old woman, Karen (a scene-chewing Barbara Kingsley). She acts so terribly mad, terribly sweet and absent-minded that everyone guesses why Rylie and Sam accept her invitation to come in, and don’t protest when the edgy woman offers to cook them a meat supper in her dirty kitchen that has seen days. best, in front of his heavily bandaged and barely mobile son Gunni (Jamie Bradley) who watches events in silence.
The scenes from Karen’s farm pit Rylie and Sam quite aggressively against each other, bringing up their various disagreements, while hammering out a vague point that has something to do with overindulgence and religion. (Just to make it a little less subtle, the breathtaking Christmas music is constantly playing at Karen’s place.) Pragmatic thinking, Rylie eagerly demands answers from Karen, when the neighbor she claims to have called for help from the car never shows up. In contrast, Sam goes with the flow and happily accepts mountains of questionable food and pastries made by the too-rushed cook, despite Rylie’s relentless policing of Sam’s unhealthy eating habits. Later, when the couple agree to each other. installing in the old woman’s basement, all the leaky pipes, dirty sheets and peculiar sounds, “Honeydew” becomes even more laughable as everything points to an obvious result that the protagonists stubbornly ignore: this couple would do better to run for dear life.