Don't Go

Variety by Dennis Harvey

All this adds up to a big “whatever.” Don’t Go isn’t sure whether it wants to be a frightening fantasy or a poignantly warm-and-fuzzy one.

The Hollywood Reporter by Frank Scheck

For all its effective atmospherics and performances, Don't Go has an inevitably familiar feel.

Film Journal International by Maitland McDonagh

Don’t Go is sufficiently subtle that some viewers will find it dull and lacking in traditionally “scary” moments. But others will appreciate the care with which it walks the line between supernatural and psychological horror.

Los Angeles Times by Noel Murray

The idea of human memory as a kind of time machine is powerful, and writer-director David Gleeson and his co-writer Ronan Blaney make it pay it off well in their movie’s final 10 minutes. It’s the preceding 80 that are the problem.

Observer by Rex Reed

Stephen Dorff, a good actor who seems to have temporarily run out of luck, is back in a loopy and desultory “psychological thriller” without a single thrill and the psychology of a paperback called "Psychology for Morons."

Movie Nation by Roger Moore

Limerick native co-writer/director David Gleeson (“Cowboys & Angels”) ensures we get lots of local color in the people, the scenery and the school and Irish pub life in this story.

The New York Times by Teo Bugbee

It falls on the performances to add subtle touches to the narrative’s broad strokes. George is admirably warm as the earthbound Hazel, and Dorff suggests the selfishness of his character’s selfless desperation.

The Playlist by Warren Cantrell

Bolstered by a damn fine turn by Dorff, who carries most of the film, there’s more to like than dislike with this one.