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"&lt;wm:embed type=\"related\"&gt;&lt;/wm:embed&gt;&lt;p&gt;If you like Amanda Seyfried, and I do despite the career doldrums induced by &lt;a href=\"../../movies/reviews/in-time-20111027\"&gt;&lt;em&gt;In Time&lt;/em&gt;&lt;/a&gt;, &lt;a href=\"../../movies/reviews/red-riding-hood-20110310\"&gt;&lt;em&gt;Red Riding Hood&lt;/em&gt;&lt;/a&gt; and &lt;a href=\"../../movies/reviews/dear-john-20100205\"&gt;&lt;em&gt;Dear John&lt;/em&gt;&lt;/a&gt;, &lt;em&gt;Gone&lt;/em&gt; is not the antidote to her recent bad choices. It&amp;apos;s a substandard thriller that traps Seyfried in the role of Jill Parrish (Amanda Seyfried), a waitress the police believe cried wolf&amp;#xA0;by claiming she&amp;apos;d escaped a crazed kidnapper. Now, a year later, Jill &amp;#x2013; hyped up on anxiety pills &amp;#x2013; comes home to find her sister gone. She&amp;apos;s sure it&amp;apos;s the same rapey-eyed maniac and goes in pursuit. That&amp;apos;s the premise and I&amp;apos;m sure a talent like David Fincher could make something of it. But Brazilian director Heitor Dhalia merely recycles bump-in-the-night thriller tropes. There&amp;apos;s no thrill in &lt;em&gt;Gone&lt;/em&gt; because you can see every surprise coming. It lies there flapping like a dying fish. Skip it.&lt;/p&gt;"^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.rollingstone.com/movies/reviews/gone-20120224>