Don’t Go finds husband Ben (Stephen Dorff) and wife Hazel (Melissa George) try to come to terms with their new life after the sudden death of their daughter Molly (Grace Farrel). Six months after her funeral, the couple decide to move to a beachside town to start afresh, running a hotel as part of the family business.

While Hazel tries her best for a new life, Ben can’t seem to settle into his. He starts to have recurring dreams that make him believe that somehow, he can get Molly back. He thinks he can pull Molly out of this dream and back into the real world. To Hazel and everyone else around him he’s going mad. Is it really possible to somehow go back in time and change everything… even death?

don't goSet in Ireland, this psychological thriller has a unique feel about it but with an odd sense of direction. Written by David Gleeson and Ronan Blayney, and directed by the former, Don’t Go is a bit of a blur. Along with a few eerie visual and sound effects and some scenes that will have you intrigued – there’s little more to it. It’s laborious and takes 40 or so minutes into the film to pique the audience’s interest, and to have them understand what’s going on. Some scenes are superfluous and are wasted, others too needlessly perplexing as well as feeling quite repetitive.

As a psychological thriller, the film is supposed to shock, scare and spook its audience. While spooky stuff does start to happen, it fails to last long enough to make any sort of impression or impact. Don’t Go has promise to be a great thriller, but it lacks the speed, passion and the suspenseful drama any film like this truly requires.

Both Stephen Dorff and Melissa George take centre stage with their superb acting skills as a grieving husband and wife. However that doesn’t stop the film from being monotonous at times and takes up until the final 10 minutes before you ever feel even remotely hooked, for that’s when it all comes into place and finally makes sense. Although the ending was a huge hit for me, (I even shed a few tears), it really ought to be the whole film that grabs the attention of its audience. There is too much confusion throughout until one small lightbulb moment that is needed to understand it all.