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Mystery . Thriller . Drama

When her sister disappears, Jill is convinced the serial killer who kidnapped her two years ago has returned, and she sets out to once again face her abductor.

Actors: Katherine Moennig , Socratis Otto , Wes Bentley , Sebastian Stan , Emily Wickersham , Daniel Sunjata , Jennifer Carpenter , Amanda Seyfried
Directors: Heitor Dhalia
Country: USA
Release: 2012-02-24
More Info:
  • Tasha Robinson

    The film's pieces don't always fit together, but even in isolation, some of those pieces are well worth watching.

    The A.V. Club Full Review
  • Stephanie Zacharek

    Seyfried has spent too much time lately in vehicles that aren't worthy of her, "Red Riding Hood" being the most egregious example. Gone at least takes her seriously – except when, to delicious effect, it doesn't.

    Movieline Full Review
  • Clark Collis

    Which stinks worse? The absurdly large pile of red herrings Gone amasses? Or the film's sub-Scooby Doo conclusion?

    Entertainment Weekly Full Review
  • Tom Russo

    Hand it to Amanda Seyfried - she seems to have a knack for underplaying unstable characters in a way that lets their nuttiness creep right up on you.

    Boston Globe Full Review
  • David Ehrlich

    Gone starts off as a character study about a woman struggling to regain control of her world in the wake of a horribly intrusive event, but that sort of thing doesn't make for a fun night at the movies, so it quickly concedes to a Hitchcockian "wrong woman" riff, in which sexually motivated abduction serves as the worst MacGuffin in movie history.

    Boxoffice Magazine Full Review
  • Dennis Harvey

    A low-pulse thriller that evaporates from memory with the last credit.

    Variety Full Review
  • R. Kurt Osenlund

    Nearly a year has passed since the release of Catherine Hardwicke's Red Riding Hood, and Amanda Seyfried is still crying wolf.

    Slant Magazine Full Review
  • Peter Travers

    There's no thrill in Gone because you can see every surprise coming. It lies there flapping like a dying fish. Skip it.

    Rolling Stone Full Review
  • Marc Savlov

    Seyfried acquits herself admirably in the panicky, hysterical mode, if that's what you're looking for, but by the time the final, goofy revelations roll around, you're slapping yourself for not having just taken a nap instead.

    Austin Chronicle Full Review
  • Glenn Whipp

    Gone is also your hard-earned money if you buy a ticket to this slack piece of work, a movie that makes "Murder on the Orient Express" feel like "The Silence of the Lambs" by comparison.

    Los Angeles Times Full Review
  • Bilge Ebiri

    Believe it or not, the delicate-featured, whisper-thin actress manages to (mostly) pull it off, but the abysmal movie around her lets her down.

    New York Magazine (Vulture) Full Review
  • Jeannette Catsoulis

    Seriously depleting the skanky-villain bin at central casting, the moronic thriller Gone stars Amanda Seyfried as Jill.

    The New York Times Full Review
  • John DeFore

    A thriller so fixated on red herrings that viewers may stop caring if anyone's really in danger, Gone is diverting but unlikely to linger long in theaters.

    The Hollywood Reporter Full Review
  • Rex Reed

    Gifted and sincere as she always is, there's not much Ms. Seyfried can do with this tripe.

    New York Observer Full Review
  • Matt Singer

    The one cop (Bentley) who buys Jill's story looks like the most likely suspect (or at least the most likely red herring) - and then he vanishes for the entire third act to, supposedly, make his mother some soup. Wait, what?

    Time Out New York Full Review
  • Budd Wilkins

    The issue remains that this variety of faux-populism seems better suited to the soapbox than the silver screen.

    Slant Magazine Full Review
  • Sheri Linden

    The relentlessness of corporate might is disturbing but no surprise; "Big Boys" is, however, an eye-opening look at the way the U.S. media fell lockstep behind Dole's claims.

    Los Angeles Times Full Review
  • Jeannette Catsoulis

    Documenting the vigorous strategies employed by the Dole Food Company to block the release of his 2009 film "Bananas!" - about a lawsuit brought by Nicaraguan workers who suspected the company's use of dangerous pesticides - the Swedish filmmaker Fredrik Gertten gains traction by taking the high road.

    The New York Times Full Review
  • John Anderson

    A David-and Goliath story that delves into corporate scare tactics, legal effrontery, brand protection, media manipulation, online propagandizing and craven behavior.

    Variety Full Review
  • John DeFore

    While Big Boys addresses the extent to which journalists (particularly in the U.S., Gertten believes) too readily accept the claims of powerful entities, the film misses the opportunity to explore this issue in a more universal way.

    The Hollywood Reporter Full Review
  • Andrew Schenker

    Detailing his efforts to distribute Bananas!*, his 2009 exposé on Dole's use of toxic chemicals in Nicaragua, Swedish documentarian Fredrik Gertten's latest plays as an occasionally fascinating, if ultimately reductive, showdown between First Amendment rights and corporate power.

    Time Out New York Full Review
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