April 25, 2012
There's nothing quite like settling down to an action packed thriller, even if it does have its faults, on a Saturday night. Amanda Seyfried's new film Gone, advertised as a suspense thriller, is nothing short of boring and is certainly on the short list for worst film of 2012.
There’s only one time in the week films can get away with being bad, and that’s a Saturday night. Mid-weekend evenings are reserved for movies that don’t require much thought; it’s the only time I’ll pardon plot holes, allow atrocious acting and excuse sorry scripts. Despite this broad generalisation, there’s always one movie that is subject to the harsh criticism I reserve for every other day. Gone, the new film by Brazilian director Heitor Dhalia, adds further proof to the theory that Amanda Seyfried’s career has gone significantly down hill since Mean Girls.
Amanda Seyfried plays Jill Parrish, a young woman who lives with her recovering alcoholic sister, Molly (Emily Wickersham). Struggling to forget about her abduction the previous year, Jill returns home from work to find her sister missing. Convinced that it is the same serial killer who kidnapped her two years ago, Jill takes it upon herself to track him down and save her sister. Gone, a suspense thriller, sees Jill struggle against the authorities to prove her suspicions are correct and save her sister before sundown.
Gone is as much as a thriller as The Girl With The Dragon Tattoo is a family film. Slow paced and predictable, it hardly offers anything new to the genre. Considerably shorter than many other films currently on general release; one hour and 34 minutes still feels far too long. The supporting cast contribute nothing to the film; made up of vaguely recognisable faces (Jennifer Carpenter from Dexter, Daniel Sunjata from Grey’s Anatomy) that not only lack credibility, but are also void of any chemistry. Still, it was nice to see Wes Bentley again (recently of The Hunger Games fame), even though his character comes across conflicted and confused. Despite her faults; Seyfried manages to play the unhinged, irritating Jill with considerable conviction.
Delivering lines that would have the suffragettes rolling in their graves, Amanda Seyfried as Jill plays crazy surprisingly well. I still wouldn’t recommend Gone on her performance alone. Dull, devoid of any suspense and incredibly cliched, Gone is certainly one to avoid; especially on a Saturday night. It will amount to nothing but disappointment, and a general embarrassment that educated, seemingly bright female characters slip so readily into crazy territory.