‘Don’t Make Me Go’: Film Review | Tribeca 2022


Don’t Make Me Go opens with a warning. “You’re not gonna like the best way this story ends,” a voiceover says, “however I believe you’re going to love the story.” In the second, it looks like each a protection and a dare: You can’t say the film didn’t warn you that you just’d be let down by its selections, but additionally, don’t you sort of need to stick round and see what they’re speaking about?

Unfortunately, what it really turned out to be, at the least in my case, was simply an correct prediction. For most of its 110-minute run time, Don’t Make Me Go is a solidly likable drama, anchored by pretty, lived-in chemistry between John Cho and Mia Isaac as a father-daughter duo. But a misguided third-act alternative throws off its bittersweet vibe, leaving a distinctly bitter aftertaste.

Don’t Make Me Go

The Bottom Line

A bittersweet drama undone by a bitter twist.

Release date: Friday, July 15 (Amazon)
Venue: Tribeca Film Festival (Spotlight Narrative)
Cast: John Cho, Mia Isaac, Mitchell Hope, Jemaine Clement, Stefania LaVie Owen, Kaya Scodelario
Director: Hannah Marks


Rated R,
1 hour 50 minutes

On paper, Don’t Make Me Go sounds designed to wring tears. Max (Cho), who’s lengthy suffered from intense complications, discovers they’re the results of a deadly bone most cancers that leaves him with only one yr left to reside. Rather than inform Wally (Isaac) the information straight away, he talks her right into a cross-country highway journey from California to his faculty reunion in Louisiana. The thought is for him to make some final recollections with Wally, impart a couple of last life classes and, he secretly hopes, reunite her with the mom, Nicole (Jen Van Epps), who left when she was only a child.

But Don’t Make Me Go breezes alongside for probably the most half, drawing mild humor from the characters themselves and the steadying relationship between them: Max’s historical automotive Jerry, Wally jokes, has the final identify Atric — get it? Though Max’s imminent demise offers their journey (shot with sun-dappled heat by director Hannah Marks) an additional fringe of emotion, Vera Herbert’s screenplay largely avoids ponderous foreshadowing — give or take a scene of an oblivious Wally gushing that watching a meteor bathe on a transparent Texas night time is one thing Max ought to positively do earlier than he dies.

Cho, who did the concerned-father factor to such transferring impact in Searching, slips comfortably into the function of Max. The character’s boring-dad persona expands to tackle new layers as he revisits previous grudges and divulges buried truths, and Cho synthesizes all of them right into a single complicated character. Isaac meets his sweetness together with her personal livelier take, and what shines via of their scenes collectively is an unassailable sense of affection, even after they get caught up within the traditional teenage arguments about events or faculty. It’s merely good to spend lengthy minutes using alongside as they take pictures by roadside points of interest or sing alongside to Iggy Pop on the radio, if additionally slightly stereotypically Sundance-y.

Much of Don’t Make Me Go revolves round that late-adolescent means of realizing that oldsters are folks too. As Wally accompanies Max to his reunion, she begins to see her dad in a brand new gentle via tales about his thwarted expertise for music or his youthful tattoo-related follies — or, in a single dramatic second, an sudden act of payback. But the reassessment doesn’t go each methods. Wally just isn’t afforded fairly the identical depth of character that he’s, and her life exterior her relationship together with her dad largely consists of a halfhearted crush on a boy (Otis Dhanji) who’s extra all in favour of his video video games.

With Max rising extra difficult whereas Wally doesn’t, Don’t Make Me Go begins to appear like nothing a lot as an exaggerated fantasy of parenthood. Max’s analysis is undeniably unhappy, but it surely’s deployed as a extra excessive model of any mum or dad’s anxieties about not with the ability to educate their youngsters the whole lot they should know earlier than they go off on their very own, or their anticipated regrets about lacking out on future milestones; there’s little sense of the particular bodily or emotional or logistical challenges that may accompany a yearlong decline to demise.

When Max’s secrets and techniques inevitably come tumbling out, the following confrontation sounds much less like an emotional outburst between a young person and her dad, and extra like a mum or dad’s fantasy of all of the frustrations they’ve imagined expressing to their child, and all of the sentimentalities they want they’d hear again in flip.

However, it’s the ultimate twist that reaffirms as soon as and for all that that is actually a narrative about Max, extra so than about Wally and even about their bond. With extra cautious plotting, maybe it might have deepened the story and its concepts in regards to the unpredictability of life. Don’t Make Me Go doesn’t give itself sufficient time to reckon with its disruptive pressure, although, and as a substitute resorts to reminding you that you just knew what you have been moving into. “So perhaps you’re not offered on this story being okay. Whatever. That’s as much as you,” the narration says, and that’s honest sufficient. But in my view, if the ethical of this story is supposed to be about benefiting from our restricted time on earth, it’s onerous to see Don’t Make Me Go as probably the most best use of it.



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