“Its refusal to behave is the point.”
The strange choices create the kind of friction that follows you out of the theatre and into the argument.

Gone
Thriller · Mystery · 2012
Jill Conway is trying to rebuild her life after escaping a terrifying kidnapping. Though she is having a difficult time, she takes small steps toward normalcy by starting a new job and inviting her sister, Molly, to move in with her. Returning home from work one morning, Jill discovers that Molly has vanished, and she is certain that the same man who previously abducted her has returned for revenge.
Gone
“No one believes her. Nothing will stop her.”
Critical arithmetic
One number, for now.
Scores change. Arguments endure.
TMDB
6.2 / 10
Community rating
Jill Conway is trying to rebuild her life after escaping a terrifying kidnapping. Though she is having a difficult time, she takes small steps toward normalcy by starting a new job and inviting her sister, Molly, to move in with her. Returning home from work one morning, Jill discovers that Molly has vanished, and she is certain that the same man who previously abducted her has returned for revenge.
What this film says about your taste.
Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.
The archetype split
Who fights over Gone?
The Big-Idea Head
“You watch with your brain, not your gut.”
Read their caseThe Popcorn Loyalist
“Big screen, big feelings, no apologies.”
Read their objectionThe split comes from the same five-axis model used by the test, not audience ratings or review sentiment.
Nearby on the taste map.
TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.
Watch in your region.
Cinema release signals and current streaming, rental, and purchase options for your region.
Streaming availability data supplied by JustWatch.
The people responsible.
Cast & crew
Directed by
Heitor Dhalia
Written by
Allison Burnett
Put Gone on trial.
Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.
“Oddness is not depth.”
A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.






