The A.V. Club by Tasha Robinson

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

Movieline by 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.

Entertainment Weekly by Clark Collis

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

Boston Globe by 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.

Boxoffice Magazine by 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.

Variety by Dennis Harvey

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

Slant Magazine by 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.

Rolling Stone by 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.

The Hollywood Reporter by 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 New York Times by Jeannette Catsoulis

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