People often complain that there is a lack of originality in Hollywood, that every movie is either a remake (or the new euphemism for a remake, a reboot). Every rom-com is formulaic, every thriller lacks suspense, every comedy is reheated. In that respect, you really have to hand it to Gone. It’s not a remake, yet it references multiple movies. It’s not a sequel, but it picks up where another story leaves off. It’s not a reboot, yet if you enter Gone in the search bar, 37 possible titles come up. So really this film is groundbreaking in its derivative content. You see? It’s original in its lack of originality.

A year or two back, Jill (Amanda Seyfried) narrowly escaped the clutches of a serial killer (Kiss the Girls). With no physical evidence and no description of her assailant, the local police think she made the story up (Disturbia). So when her sister disappears in the middle of the night (too many to name), Jill alone believes it to be the work of the same serial killer (Along Came a Spider). Jill then becomes a fugitive (Fugitive) as she goes outside the bounds of the law in a desperate attempt to save her sister’s life (Ransom).

Clearly no one in the movie has the ‘find’ app on the iPhones they all carry, otherwise the movie would be over before it began. Seyfried is a beautiful actress, clearly capable of anchoring a film, but she needs to be a tad more discerning. Here, the title clearly refers to 90 of your day.

It's a 3.