“Gone” is the story of a young woman who was kidnapped, and kept for a short time in a hole in the woods. There she discovers the human remains of previous victims before she manages to escape her captor and flee. The problem she faces on her emergence is that she has no way to prove her story. Searches of the woods fail to turn up the hole she was kept in, and during her ordeal she didn’t actually suffer enough physical trauma for the police to believe conclusively she was abducted.
Now, almost a year after her escape, the killer has returned and she’s once again facing the challenge of getting people to believe her.
Read on to see if “Gone” puts the lotion in the basket or if it gets the hose.
After suffering such a trauma, you might imagine that a person would have psychological issues to deal with. Amanda Seyfried’s Jill was involuntarily committed for a brief time following her escape from captivity. Unfortunately, this leaves her vulnerable to being discounted as “Mentally Unstable”. So when she comes home from work one morning (she waitresses the night shift at a diner) to find her sister missing, the police have a plausible rationale for discounting her story.
Which creates the need for Seyfried to track the killer on her own.
And thus commences the story of “Gone”. Once Seyfried begins to search for her sister’s abductor, she follows a trail of bread crumbs that lead her closer and closer. A witness on a street saw a locksmith van, which leads her to the locksmith shop, where she finds a receipt which leads her to a hardware store, etc etc. Along the way, due to the fact that she carries a gun for protection now, she instigates an incident which causes the police to issue an APB for her. Now she’s being chased by the cops AS she’s chasing the killer and trying to rescue her sister.
My main problem with it all is it’s all very simplified. Her “investigation” is as complicated as a game of connect the dots, or a fetching quest in a roleplaying videogame. There’s no action sequences to speak of, but there are a few moments where she needs to elude the police, one of which is mildly clever, I suppose. Aside from that we’re left with a psychological thriller where the killer doesn’t appear until late in the game, and when he finally does, he winds up being rather plain. That doesn’t leave me with a whole lot to recommend to people.
The weight of carrying the movie falls to Ms Seyfried, and she does an admirable job. Her performance wasn’t of the type of level that would elevate this lackluster material or anything, but she’s really not given much to work with here. She also has no one to play off of. Above and beyond being on her mission alone, there’s no villain here. She’s trying to FIND the villain, so for the majority of the film, there’s no villain onscreen.
“Gone” is a generic film which felt as though it was barely above a Lifetime Original Movie on the evolutionary chart. It’s thinly plotted, and carries little to no weight, meaning, style or substance. By the time you leave the theatre, you’ll have already forgotten about it.
It gets the hose.