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As a movie critic, there are times when you have just finished watching a movie and wish to forget about everything. You do not want to go to your notes and review the film or think about it at all.
I want Gone to just be gone…not because it’s such an awful film. Of course, I have seen much worse than this. The issue with Gone is that it is yet another film that is dumbing down Amanda Seyfried’s amazing skills, not as much as the terribly awful Catherine Hardwicke’s Red Riding Hood but still pretty disappointing.
Seyfried plays Jill, a night shift waitress who, after a shift, returns home only to find her sister Molly (Emily Wickersham) is missing. Jill had been kidnapped a year ago and now finds herself instantly convinced that Molly has also met the same fate.
If you think that a thrilling film like Gone would require thrilling elements to be enjoyable, you would be very mistaken. From clichè riddles to psychologically hollow narratives, this film keeps throwing curve balls till you expect to see a wolf on the big screen. Another addition into the world of useless characters are police officers Daniel Sunjata and Katherine Moennig, who decide that Jill completely lost her mind simply because her proof for a kidnapping is non existent, which of course she does provides. The film is scripted by Allison Burnett, who’s latest work is the gem (sarcasm inserted) Underworld: Awakening.
Jill’s puzzle in Gone is never really posed to the audience, and because of that simple premise, Jill has to solve the puzzle before morning, forcing Seyfried to run without direction like a headless chicken. Out of all the unsatisfactory parts of the film, what stands out is the overbearing hyped sequences full of suspense. Because of this reason, Gone is bound to disappear from the box office almost immediately.
Seyfried manages to extract more from her character than one would expect her to. She elevates her scenes’ emotional weight beyond what Burnett’s cliched writing contains. Dhalia has put so many red herrings into the film but what is truly bizarre is how effortlessly each one of them is taken. Adrift was the film Dhalia gifted us, and just like that one, he does deliver an understanding of the frightening nature of silence, which can at times far surpasses mere speech. There is one disturbing scene, and this is incredibly disturbing, when Seyfried is driving in deep night. The imaginations one can have from this scene is so terrifying and yetso perfect for this film which this work would have made so much better.
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