There comes a time in a girl’s life when she has to grapple with the idea of losing her father. Whether it’s due to age, illness, or other unforeseen circumstances, unsuspected loss is always difficult to handle. Leading up to these scenarios, parents often maintain the notion that keeping their children in the dark about ongoing health concerns or other problems is a way to keep them protected. It’s a philosophy that doesn’t always end well, but parents use it frequently nonetheless. That’s the premise of director Hannah Marks’ Don’t Make Me Go, a story about the unpredictable intricacies of life and choosing to live in the present to protect a loved one’s future. It doesn’t always capitalize on its strengths, but Don’t Make Me Go is a journey worth taking thanks to fantastic performances from its two leads.
The story follows Max Park (John Cho), an uptight yet loving father who discovers that he has a terminal brain tumor with a slim chance of survival if he proceeds with the operation suggested by his neurologist. Determined to reclaim the last year of his life by spending it with his daughter Wally (Mia Isaac) in the best way he knows how, Max unravels a plan to prepare Wally for her heartbreaking future. Together, the two set out on a cross-country journey from California to New Orleans to reunite Wally with her mother, who abandoned them when Wally was a baby. With roadblocks and conflicts waiting for them throughout their trip, Max must find a way to deliver the deadly news just as he’s building a new relationship with his daughter.
Vera Herbert’s endearing script has several strengths going for it. There’s a beautiful and sweet father-daughter relationship inherent to the core of the story, while giving viewers a sense of who Max and Wally are as individuals. With a runtime of 110 minutes, it’s not the easiest task to accomplish, but the script does treat its viewers to character growth for its two leads. Additionally, Cho and Isaac make this a worthwhile trip to follow with their great chemistry and convincing performances. Herbert also understands the fundamentals of how to hold the attention of viewers by including natural conflict within the story. These occurrences never come off as contrived or unbelievable. Rather, they balance the script, especially when they lead to resolutions and warm moments between Max and Wally.
The one thing holding Don’t Make Me Go back from reaching its maximum potential is the length that it takes to unravel the secrets held by Max. Of course, the tradeoff means spending more welcomed time with Max and Wally and witnessing their relationship blossom into one that reveals the honest truths about single parenthood. However, it leaves no time for audiences to digest the big climax within Marks’ feature. Here, the message is clear regarding the uncertainties of life and the unpredictable things that may happen to people along the way. But it also comes off a bit forced, even if it pays off in the end.
The climax also teeters on the thin line of shock value with the intent to confront viewers about their humanity and that familiar feeling of emotional manipulation. Yet, there’s something appealing and honest about the notion that parents can also learn from their children. Audiences may be split on whether the climax worked for them or not, but it’s going to have people talking either way. After all, Isaac’s Wally warns viewers that they’re “not going to like the way this story ends," in addition to the various clues revealed throughout the feature. Somehow, it ends up working for the message the story wants to deliver — and that’s preparing for the unexpected.
Hannah Marks’ feature on the journey and relationship of two complete opposites in age, personality, and mental strength works well for two important reasons. It teaches its viewers the value of father-daughter relationships while positioning itself as a promoter of parents acting as students to their children. Additionally, it naturally works when it comes to character growth and conflict, even when the lead-up to the surprising climax is a bit forced. Don’t Make Me Go may not end in the way that most viewers will enjoy, but sometimes the journey to the end is more important than the end itself.
Don't Make Me Go released to Prime Video on July 15. The film is 110 minutes long and is rated R for some sexual content, graphic nudity, language, and teenage drinking.
