Don’t Let Go is a prime example of an idea with no final fitting ending
I won’t let go, I promise. Although, I probably will, because Don’t Let Go didn’t have the profound effect it wanted to on me.
Jack (David Oyelowo) is a homicide detective, constantly clearing up for his wayward brother, often finding himself looking after his niece Ashley (Storm Reid). Yet his life is turned upside down when Ashley and her parents are murdered by an unknown intruder. After dealing with his grief, Jack is called from someone using Ashley’s phone, who also happens to have the same voice as she does.
Aside from its gimmicky premise, Don’t Let Go does actually have a certain level of connectivity and power. However, after it draws all attention to itself, almost expertly, it slowly unravels in a particularly undramatic way. As if it knew how far it wanted to go, but just carried on moving like a runaway train anyway. It drops from peak levels of engagement to a real sense of loss and confusion.
This feeling comes as drastically unfitting, with it essentially becoming a whodunnit despite having an incredibly limited number of characters. This revelation comes at a damaging time for Don’t Let Go; dropping it from being quietly interesting, to decidedly average and off the rails. As they say, there’s no saving a runaway train.
Nothing against it’s direction or performances, only against its lack of gusto post-act one, Don’t Let Go is a prime example of an idea with no final fitting ending. Once it loses its motive, it loses it’s audience’s engagement, falling into the same trap as so many crime films before it, even after holding hard onto the handlebars of the dramatic writing bike. Don’t try and let go too soon. Right?
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