‘Gone’ is the cinematic equivalent of the ‘boy who cried wolf’ tale where a repeated statement is given to the dis-belief of many.  Its marketing could be construed as making its own false heresy as its promise of ‘an exciting thriller’ is anything but.   Eventually losing its way in an average story it reaches a crescendo of artificial scares mirroring its subject.


Jill (Amanda Seyfried) is a woman with a dark past. Previously kidnapped by a serial killer and eventually escaping, she has since lived life afraid of others.  When her sister suddenly vanishes she thinks the killer has returned to claim her.  Pleading for help from nonchalant authorities she despairs at their lack of faith in her words.  Taking matters into her own hands she attempts to confront the killer and save her sister from a grisly fate.


The type of film given a theatrical release before quickly vanishing to DVD, ‘Gone’ is less than scintillating.  Whilst its first half sets the scene quite well with Jill’s paranoia ruling her life, it unfortunately takes a more mundane approach in solving her problems.  Occasionally moments suggest some clever twists which sadly fail to surface.  ‘Gone’ promises a lot but ultimately delivers little with only Seyfried’s feisty performance of interest.


Weighing heavily against any minor gains are the poorly conceived characters.  Fine co-stars such as Wes Bentley are given short shrift with their undeveloped roles with the laughable depiction of the police-force ruining any sense of believability.  The few interesting times where Jill questions her sanity are reasonably intriguing although these are soon discarded for a typical ‘chase the victim’ formula.


Failing to utilise its good points, ‘Gone’ is generally a waste of everyone’s talents.  Unfocussed and saddled with a poor script, it may make for good viewing on a rainy afternoon than among the darkened aisles of the local cinema.


Rating out of 10:  4


My Week with Marilyn

Minx, marvel and even monster – anecdotes about actress Marilyn Monroe have been diverse.  Dying young and becoming a legend she is one of the few stars everyone knows just by their first name.  Based on two books by Colin Clark, ‘My Week with Marilyn’ shows why she was adored.  Examining Clarke’s involvement with her whilst she filmed ‘The Prince and the Showgirl’ it effectively explores many facets of her troubled life.


Colin Clark (Eddie Redmayne) works as an assistant on the set of Marilyn Monroe’s (Michelle Williams) latest movie.  Shooting in England during the summer of 1956, the film also stars famed actor Laurance Olivier (Kenneth Branagh).  Although newly married, Monroe is without her husband and relishes an escape from her hectic schedule.  Colin provides this as he introduces her to British life and people such as Dame Sybil Thorndike (Judi Dench).  The week following brings an oasis in a sea of uncertainty in Marilyn’s short but memorable existence.


A fascinating portrait of a troubled and insecure young woman, ‘My Week with Marilyn’ is a top notch production.  It brings real insight into the ‘goldfish bowl’ world in which she lived with the fan adulation seemingly feeding her needful nature.  Acting opposite an array of acclaimed British actors only increased her doubts about her talents.  This clash between British and American thespian styles provides a lot of the story’s emotional conflict with Colin becoming the unwitting go-between.


Central to this interesting tale is Williams’ performance which is simply amazing.  Capturing Monroe’s mannerisms well, she truly embodies the innocent allure the actress projected.  Her co-stars are equally accomplished bringing a level of authenticity to an era of movie-making long-gone.  The budding relationship between Clark and Monroe is skilfully handled by Director Simon Curtis even if it gives an air of sadness to the tale given subsequent events.


Marilyn Monroe will probably never be understood although ‘My Week with Marilyn’ proficiently captures some of her behavioural aspects.  Wisely focused on one chapter of her career, it’s a rewarding portrait of someone dealing with the double edged sword of universal fame.


Rating out of 10:  8