A psychological thriller lacking in both psychological complexity and thrills, its another poor outing for Amanda Seyfriend – following her recent performances in the gothic fantasy Red Riding Hood and the sci-fi thriller In Time.
A model, singer and actress of sorts Seyfried stars as Jill, a young woman who rushes to the police with a case of paranoia-fuelled anxiety when her sister disappears from their home one night. Already known to the police because she claimed to have been kidnapped by a serial killer a year earlier, Jill’s story is met with less than enthusiasm by long-suffering detective Powers (Daniel Sunjata), who reminds Jill of her history of mental illness and the fact that there was never any evidence found for her serial killer story – in particular the deep hole in the nearby forest where she claimed to have been kept.
With no help from the law and no-one else believing her story, Jill has to go outside the system and investigate things on her own in order to save her sister and solve the mystery that haunts her with regular flashbacks (conveniently she never saw the face of the supposed killer-kidnapper). With Jill in detective- on-the run mode, the film becomes a predictable and somewhat tedious journey that takes her to plenty of rundown houses (usually at night time) where she meets mostly creepy people, all of whom are set up to be possible killers. Also on the suspect list is slightly creepy new policeman Peter Hood (Wes Bentley), who is the only one who offers Jill any help.
Producer Sidney Kimmel has pulled together far better films than this (Lars and the Real Girl, The Kite Runner), Gone is little more than standard television drama vaguely in the psychological thriller genre. The script from Allison Burnett depends less on any innovative plot developments than on in intense and complex central character design, but Seyfried is unable to deliver much more than wide-eyed, lip-chewing anxiety. Brazilian director Heitor Dhalia plays it safe throughout, never pushing the mood too far on the scare-o-meter and never able to get us into what surely should have been the disturbed mind of the central character. The rest of the cast cruise through their mostly stereotypical roles and the film’s lame duck ending sequence makes you wonder what happened to all the intrigue and drama that was set up in the first half of the film. It’s gone.