If you like Amanda Seyfried, and I do despite the career doldrums induced by In Time, Red Riding Hood and Dear John, Gone is not the antidote to her recent bad choices. It's a substandard thriller that traps Seyfried in the role of Jill Parrish (Amanda Seyfried), a waitress the police believe cried wolf by claiming she'd escaped a crazed kidnapper. Now, a year later, Jill – hyped up on anxiety pills – comes home to find her sister gone. She's sure it's the same rapey-eyed maniac and goes in pursuit. That's the premise and I'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's no thrill in Gone because you can see every surprise coming. It lies there flapping like a dying fish. Skip it.

“The Everchanging Spectrum of a Lie”

The opener off the Welsh group’s The Big Roar album was an epic one, but the band was worried that track had polarized fans. “The first song is eight minutes long,” Rhydian Dafydd, the Joy Formidable bassist, said. “If you did that in the Seventies people would be, ‘Whatever.’ You do it now, people think, ‘Holy s---!’ Some people think it’s the f---ing greatest track on the entire album, and some people think it’s f---ing boring. It’s that element of needing to challenge people.” The band concluded through the song’s lyrics that love was the “everchanging spectrum of a lie.”