The head-scratching mystery thriller “Gone in the Night” barely keeps itself together before its stunningly disastrous conclusion thanks to the star power of co-stars Winona Ryder and Dermot Mulroney.
“Gone in the Night” has the feel of the directorial debut of a podcaster, someone who is aware of the value of narrative originality and has a talent for narrative economy, but who also suggests more by the grace of good casting than by their own singular talents.
First, she makes an effort to get in touch with the cabin’s reclusive owner, Barlow (Mulroney). Barlow swiftly accompanies Kath in her search for Greta, and Greta, in turn, guides the two of them to the next story point, and so on.
The relationship between Kath and Barlow will become the primary focus of the film, and this shift in the narrative will at the very least make it clear what kind of story Derby and Horowitz have decided to present.
Kath is in a difficult position because she is torn between these two archetypes. On the one hand, she wants to know what happened to Max, but on the other hand, she is attracted to Barlow because he is rugged, beautiful, and modest.