AMANDA SEYFRIED
G O N E
Amanda Seyfried’s suspense thriller Gone isn’t a bad one, it just never really goes anywhere. Gone is what I would call a step above Lifetime movies. It has enough basic interest surrounding Seyfried’s character that you will almost watch it just to see how things turn out, even though the ending is much less exciting than the road to get there. After Mama Mia, the first film that really ignited her career, Seyfried has been a hit and miss at the financial and critical level. Gone is only the second time Seyfried has attempted to drive a film simply on her own stardom and ability (the previous was Letters to Juliet). I admire Seyfried for dabbling in such a wide variety of genres and challenging herself as an actress, but this film is a play by numbers.
After being abducted last year, Jill (Seyfried) went through intense therapy because of the severe post traumatic stress. She was the only survivor of a kidnapper who the police believe doesn’t exist. Jill’s escape and near brush with death has left her understandably paranoid that this guy will come after her again. Now living with her sister, the day before Molly’s big test she has been studying for, her sister disappears. Jill is certain this guy is back, but instead grabbed her sister to toy with her. The police don’t believe her and will not provide help, so Jill must do her own investigating to save her sister before it’s too late.
Most critics, like me and some viewers, like for films to challenge them. We watch so many films during a week or a month that the plots and characters get extremely repetitive. Gone is a film for those who want things very basic and simple. The most contemplative issue plaguing this plot line is whether Jill is crazy or there is someone really after her. Gone is also the type of movie during which you can be cleaning your house, grading papers, or maybe even carrying on a conversation and not really miss anything that happens. I thought of Ashley Judd in Double Jeopardy or maybe even Sandra Bullock in The Net, but Gone makes those two look like masterpieces.
I found the supporting characters extremely annoying, not because none of them believe her, but because they all seem to be wrong in their roles and add nothing to the film. The ending is the biggest problem; it's like waiting a long time for a meal and, when it arrives and you are starving, it's not good and a very small portion. Seyfried seems to excel when she is working with more provocative material. While the thriller Chloe she did with Julianne Moore wasn’t a great film, it certainly was compelling.
Final Thought – Provides no challenge for the viewer.
Grade C-
By: Dustin Chase W.
Editor: Michael Woody
