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The premise of “Don’t Let Go,” written and directed by Jacob Estes, is incredibly intriguing, and it holds a plethora of intriguing possibilities for the film. It is impossible to express yourself properly when a loved one is taken from you by death. There is a great deal of unfinished business. What would happen, however, if that person reached out to you from beyond the grave? If the person’s death caused a wrinkle in the space-time continuum, would that allow you to communicate with each other, albeit on different timelines, be a possibility? Grief has a negative impact on your mental health. Loss is unimaginable, and the brain comes up with all kinds of “magical thinking” (to borrow a phrase from Joan Didion’s famous memoir on the subject) to help us get through it. This is at the heart of the screenplay for “Don’t Let Go,” and it provides some of the film’s most interesting aspects. As a result, it’s a disappointment when so much is left unexplored, and when the film succumbs to the demands of a cliched plot that drives the film forward.
A close relationship exists between Jack Radcliff (David Oyelowo), a cop living and working in Los Angeles, and his niece Ashley (Ashley Judd) (Storm Reid). Ashley’s father Garrett (Jack’s brother) is a jerk, and Jack and Ashley talk about it with the candor of people who have been there before them on this subject. There’s a sweet scene where the two of them are playing a drawing game together in a diner where they both frequent. However, there is a darkness on the horizon, a darkness that threatens Ashley’s existence. Ashley has high hopes that her father is now on the right track. Jack, on the other hand, is not so sure. He finds Garrett, Ashley’s mother, and Ashley brutally murdered in their home after receiving a distressing phone call from Ashley. His fears are more than justified.
The evidence points to a murder-suicide, but Jack, who is overcome with grief, believes there is something more going on. When Jack’s phone rings one day, he realizes what has happened. It’s Ashley on the line. The supernatural begins to dawn on Jack, who initially believes he is losing his mind. However, once he realizes that Ashley is calling him from two weeks ago, the uncle and niece band together, working on separate time-lines, in an attempt to find out who was responsible for the murders. And perhaps, as Jack hopes, they will be able to turn back the clock. Ashley might be able to be saved after all.
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This is all very entertaining, and it reminds me of the film “Frequency,” in which a son (Jim Caviezel) is able to communicate with his deceased father (Dennis Quaid) through an old ham radio (which I saw solely on the basis of Roger Ebert’s review). While “Frequency” had some plot-driven elements (the son wants to go back in time and undo his father’s death), the show’s primary focus was on the relationship between the two main characters. The film tapped into the intense yearning of a son who wishes to speak with his father and who wishes his father could see the man he has grown into. In the midst of a race against the clock, “Don’t Let Go” ignores these deeper emotional issues and instead gets sucked into a standard dirty-cop drug-bust plot involving shady characters hiding out in warehouses. Jumping back and forth between Jack’s timeline and Ashley’s timeline causes some confusion, and details that should have been hammered home early on in order to get the payoff (why was Ashley’s backpack wet, and who is this “Georgie” person again?) get lost in the overly-complicated shuffle of the plot. The most memorable scenes are those in which Jack and Ashley confirm the time-travel glitch by sending “messages” to each other and then come up with creative ways to communicate with one another after that. These sequences are filled with genuine urgency and emotion.
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Oyelowo (“Interstellar,” “Selma,” “Queen of Katwe,” “Les Miserables,” PBS’ “Les Miserables”) almost single-handedly establishes a sense of necessary realism in the film’s world. After an early morning phone call with Ashley, there’s a point when he bursts out laughing, both out of fear that he’s going insane and out of disbelief at the absurdity of the situation. What an understandable reaction! In “Wrinkle in Time,” Storm Reid is an indomitable figure, wildly pedaling her bike through her neighborhood, but it is her vulnerability that elevates the performance, as does her bravery as well as her devastation and fear. The difficulty here is that, with the exception of a couple of scenes, Oyelowo and Reid do not appear onscreen together. It’s their voices coming through the phones of one another. It is a testament to the abilities of both actors that these scenes are as effective as they are.
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The sense of place that “Don’t Let Go” conveys is one of its major assets. Sharone Meir, a cinematographer based in Los Angeles, takes a different approach to filming there. Los Angeles is frequently depicted as a place for either the extremely wealthy or the extremely impoverished. It’s a tourist’s perspective of the location. In “Don’t Let Go,” the humble and accurate reality of so many people’s lives is at the heart of the song. Ashley’s neighborhood has the appearance of (and actually is) a very real place. It’s obvious when Ashley rides her bike through the back alleys behind the houses that she knows every turn and twist like the back of her hand.
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Don’t Let Go is propelled forward by its central relationship, but the film’s emphasis on “whodunit and why” prevents it from delivering the emotional punch it should.Also, you must try to play this Dont Let Go quiz.
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