Survival Comes at a Cost That Keeps Changing
MOVIE REVIEW
Don't Die
–
Genre: Crime, Thriller, Horror
Year Released: 2023, 2026
Runtime: 1h 20m
Director(s): Benjamin Stark
Writer(s): Jeremy Burgess, Benjamin Stark
Cast: Theodus Crane, Virginia Newcomb, Joshua Burge, Frank Mosley, Leilani Smith
Where to Watch: available now on UK digital
RAVING REVIEW: This film tackles urgent themes that cut deep, especially in a country where access to healthcare can push people into impossible decisions (#TeamLuigi). DON’T DIE understands that pressure right away. It explores the story from a place of desperation rather than chaos, grounding its central character in a situation that feels frustratingly real. That foundation matters because it gives the film something tangible to build on, even when everything around it starts to shift.
Jenks isn’t framed as a traditional antihero. He’s a guy backed into a corner, making a reckless decision because he doesn’t see another option. The film doesn’t overexplain that choice because, in reality, it doesn’t need to. The urgency is baked into the premise, and Theodus Crane carries it in a way that keeps the character believable even as the story around him begins to stretch.
What works early on is how direct everything feels. The robbery isn’t stylized or drawn out in the usual way. It’s messy, fast, and sets off a chain reaction that the film never fully lets settle. That instability becomes part of its identity, but it’s also where the cracks start to show. Once Jenks is forced into hiding with Julia, played by Virginia Newcomb, and eventually reconnects with Randy, the film begins expanding its scope. What starts as a contained crime story slowly opens into something that extends deeper than needed, introducing a black-market operation that sits somewhere between morally complex and outright dangerous. It raises questions about survival, ethics, and the cost of staying alive in a system that isn’t built to support everyone.
The issue is how the film traverses those ideas. It doesn’t stay in a single lane long enough for anything to land. There are stretches where it leans into character growth, especially between Jenks and Randy, and those moments carry a loose, lived-in vibe. Then it pivots into something darker, hinting at horror elements tied to the operation they’ve stumbled into. Then it pulls back again, circling into something closer to a crime drama with some social commentary. None of those directions is essentially wrong. The problem is how quickly the film moves between them, without sharpening either. Instead of feeling layered, it starts to feel scattered.
That inconsistency affects the tension more than anything else. Some scenes should carry real expectations, especially as the stakes around the black-market operation become clearer, but the film doesn’t always sustain that intensity. It introduces danger, then diffuses it, then tries to build it back up again in a different way. The result is a story that never quite locks into a sustained sense of momentum.
At the same time, the performances do a lot of heavy lifting to keep things grounded. Crane anchors the film with a presence that feels steady even when the narrative isn’t. There’s a physicality to his performance that sells both the desperation and the exhaustion that comes with it. You can feel the wear on him as things spiral, and that helps maintain some level of emotional continuity.
Virginia Newcomb brings something else that’s harder to read in a way that works in the film’s favor. Her character lives with a sense of control that contrasts with Jenks’ unraveling situation, and that dynamic creates some of the film's more interesting interactions. There’s an undercurrent to her performance that suggests more than the script allows her to explore.
Joshua Burge, as Randy, adds some unpredictability that benefits the film, even if his character feels less developed overall. His presence introduces a kind of tension, but it also highlights how uneven the character focus can be. At times, it feels like the film wants to expand beyond Jenks’ perspective, but it doesn’t fully commit to that shift.
There’s also an underlying idea here about systems that force people into morally complicated choices, and the film brushes up against that in ways that could have been more impactful with a tighter approach. You can see the intention. You can see the direction it’s reaching for. It just doesn’t always connect those pieces in a way that builds something cohesive.
There’s still something watchable here despite some pacing and character issues. The core concept is strong enough to carry interest, and the performances keep it from slipping too far when the story loses its footing. There’s a version of this film, maybe with a more restrained approach or a clearer sense of direction, that could have landed with much more impact.
DON’T DIE sits in that middle space where the ambition is visible, the ideas are there, but the execution doesn’t bring them together. It’s not a frustrating watch so much as it leaves you thinking about what it could have been if it had narrowed its focus and trusted its strongest elements to lead the way.
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[photo courtesy of MIRACLE MEDIA]
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Average Rating