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"All Good Things" is based on one of those true stories like Dominick Dunne used to tell so intriguingly in Vanity Fair. Let me begin with a brief summary, based on the film because I know nothing about the reality. It involves David Marks, the son of a New York family that owned valuable 42nd Street real estate in the 1970s. The property at that time was rented to strip clubs, porno shops, massage parlors and so on. The family, wealthy and private, moved in the best circles and the nature of its holdings was not widely known.

The patriarch, Sanford Marks ( Frank Langella ), is a commanding man who is hands-on. He often collects the rent in cash. He expects his son to enter the family business. David ( Ryan Gosling ) wants nothing to do with it. A free spirit of the Woodstock era, he meets Katie ( Kirsten Dunst ), and together they escape from New York and open a twee Vermont health foods and organic products store named, yes, All Good Things.

Sanford ratchets up the pressure. David caves in and returns to Manhattan, where his wife enjoys a luxurious but unhappy existence. She eventually discovers the nature of the family business. David, meanwhile, begins to change from the loving hippie she fell in love with. Their marriage comes apart. Katie disappears. She is never found again. David is suspected of being involved, but never charged, because he appears to have an unquestionable alibi.

And I will not reveal more. The film is the work of Andrew Jarecki , who in 2003 made the remarkable, Sundance-winning documentary "Capturing the Friedmans," about a family and its secrets; the father and one son were charged with child molestation. It's easy to see why this story appealed to him.

The key to the film is in the character of David. One can imagine a scenario in which an overbearing father drives the son to rebellion, but what happens here is more complex and sinister. David seemingly adapts to the lifestyle forced upon him. He plays a role like his father played among Manhattan power brokers and establishment members. He and Katie live in an expensive condo, attend charity events and so on. Perhaps it is self-hatred that drives him to insist they have an abortion.

Kirsten Dunst is so good here as a woman at a loss to understand who her husband really is, and what the true nature of his family involves. The man she married and trusted has undergone the transformation of a Dr. Jekyll. What happens is the sort of thing that develops only in fantastical horror stories, but this story apparently did happen in one form or another, and the most incredible details of David's transformation are specifically based on facts revealed during two murder investigations.

I choose not to reveal how or where David meets the wonderfully named Malvern Bump ( Philip Baker Hall ). The nature of their relationship goes along with where they meet — the place both their lives have bottomed. Hall is one of those actors who seem to have inhabited their characters for years. He needs no explanation, because he just exists.

Jarecki offers a possible solution for the enigma of Katie's disappearance and David's alibi. It involves his enigmatic friendship with Janice Rizzo ( Diane Venora ), and that's enough about that. This film reminded me of Barbet Schroeder's " Reversal of Fortune " (1990), based on the Dominick Dunne-able Claus von Bulow case. In both stories, there is every reason to focus on the obvious suspect, except the impossibility of explaining how he could have committed the crime: Indeed, if there even was a crime.

I don't understand David Marks after seeing this film, and I don't know if Andrew Jarecki does. It occurs to me that on my first visits to New York of course I was drawn to 42nd Street, the port of entry for many a young man from the provinces, and I might even have laid eyes on Sanford or David Marks. Little would I have known.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film Credits

All Good Things (2010)

Rated R for drug use, violence, language and some sexuality

101 minutes

Kirsten Dunst as Katie Marks

Frank Langella as Sanford Marks

Philip Baker Hall as Malvern Bump

Lily Rabe as Deborah Lehrman

Ryan Gosling as David Marks

Diane Venora as Janice Rizzo

Kristen Wiig as Lauren Fleck

Directed by

• Andrew Jarecki
• Marcus Hinchey
• Marc Smerling

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Movie Review | 'All Good Things'

Assorted Acts of Betrayal Among the Moneyed and Dysfunctional

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By Manohla Dargis

• Dec. 2, 2010

There are various bad things in “All Good Things,” principally a dictatorial father, a submissive son and the tragic fates of the two unfortunate women who married them. These bad things are part of a strange case named David Marks, a fictional character based on Robert A. Durst, the true-life son of a New York real estate developer, Seymour Durst. Among the weirder bad things: in 1982 the younger Mr. Durst’s wife, Kathie, disappeared. In 2000 his friend Susan Berman was murdered. (Both cases remain open.) A year later, while living as a mute woman in Texas, he killed (and chopped up) a neighbor in self-defense. Well, the jury called it self-defense before sending him to jail. The film takes a somewhat different view.

The director Andrew Jarecki, best known for his documentary “Capturing the Friedmans,” about a Long Island family implicated in a child sexual-abuse scandal in the 1980s, has a thing for very bad things or at least unhappy relations. Certainly the fictionalized brood in “All Good Things” is equal to the Friedmans in terms of dysfunction, and they’re loaded. You get a sense of just how much money they have in the opening-credit sequence, with its artfully antiqued (faked) home-movie footage of children frolicking in summer whites on a lawn as great as that in Central Park. It’s a pretty picture or would be if the ominous music and camera position didn’t seem directed at the man portentously lurking in the background.

The lurker turns out to be Sanford Marks (Frank Langella), the domineering patriarch based on Seymour Durst, who serves as the villain. (All the names have been changed.) It’s a role that Mr. Langella fits easily, with a body that looms in the frame and an insinuating voice — every pause seems to hide a threat — which seeps into your nervous system. His recessive, physically slighter son, David (Ryan Gosling), hardly seems a worthy heir. Not that David appears especially interested in following in the footsteps of a father who walks all over everyone in sight. It’s no wonder that David grabs onto Katie (Kirsten Dunst), a lovely young woman who shyly takes an interest in him, and heads off into the country.

Written by Marc Smerling and Marcus Hinchey, the film itself takes off in the early 1970s when David and Katie move to Vermont, where they open a health-food store called All Good Things. Their idyll is cut short when Big Daddy comes calling and, after threatening to cut off their money, bullies David into returning to New York to join the family business . It’s initially puzzling why David, who seems so normal he’s borderline bland, gives in. David chafes at his father’s demands (which include collecting money from sleazy tenants), but Mr. Jarecki doesn’t rush to explain the character. Instead, he reveals David gradually through the dark looks, flashes of anger and sinister mutterings that herald the eventual conflagrations.

Through the good times and very bad the two leads are a comfortable, persuasive match. The appealing Ms. Dunst can make you see the melancholy in her smiles, and this works beautifully for a character whose love grows clouded with worry and then fear. Even after David brutally betrays Katie, Ms. Dunst lets you see what keeps her tethered to him when she knows she should leave. And because Ms. Dunst continues to show you that love when all the air and happiness have been sucked out of the couple’s relationship, she helps keep David recognizably human. For his part, Mr. Gosling creates a character who’s charming and a touch creepy at the beginning, and increasingly charmless and creepy through to the end.

Unlike some actors who play heavies, Mr. Gosling doesn’t try to win your sympathies by softening his character. Yet even as the actor works to turn you off, Mr. Jarecki tries to pull you back in by milking David’s childhood, specifically in relation to his mother’s suicide. This shifts some of the blame to David’s father, but by putting the family on the couch Mr. Jarecki only strengthens the feeling that this small, familiar, finally unremarkable tale of the moneyed and bloodied is the stuff of cable crime movies. That remains true even after David goes underground as a woman, complete with a long wig and painted nails. Mr. Gosling makes a sensationally dowdy chick, but to no greater end: David remains a cipher, never rising to enigma.

Mr. Jarecki gets much right in this movie, his fiction feature debut, but he never invests it with urgency. After the bodies have bled out, the puzzle pieces have been assembled and the final credits have rolled, you are left with the feeling that his principal goal was reopening the case. Yet unlike Errol Morris’s 1988 documentary, “The Thin Blue Line,” an exploration of a miscarriage of justice that led to the release of a wrongly accused prisoner, this film — which asks you to fear and pity David but never makes him worthy of your attention — seems unlikely to inspire the outrage necessary for action. After all, even the real Robert A. Durst, who was recently shown “All Good Things,” has said that he likes it .

“All Good Things” is rated R (Under 17 requires accompanying parent or adult guardian). Discreet sex and far less demure violence.

ALL GOOD THINGS

Opens on Friday in Manhattan.

Directed by Andrew Jarecki; written by Marcus Hinchey and Marc Smerling; director of photography, Michael Seresin; edited by David Rosenbloom and Shelby Siegel; music by Rob Simonsen; production design by Wynn Thomas; costumes by Michael Clancy; produced by Bruna Papandrea, Michael London, Mr. Smerling and Mr. Jarecki; released by Magnolia Pictures. Running time: 1 hour 38 minutes.

WITH: Ryan Gosling (David Marks), Kirsten Dunst (Katie Marks), Frank Langella (Sanford Marks), Lily Rabe (Deborah Lehrman), Philip Baker Hall (Malvern Bump), Michael Esper (Daniel Marks), Diane Venora (Janice Rizzo), Nick Offerman (Jim McCarthy), Kristen Wiig (Lauren Fleck), Stephen Kunken (Todd Fleck) and John Cullum (Richard Panatierre).

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Movie review: ‘All Good Things’

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“All Good Things,” a twisted mystery starring Kirsten Dunst and Ryan Gosling, is a stretch. A better name might have been “A Few Good Things” or “How a rich kid became a cross-dressing murdering mute and got away with it.” The murders, that is. The cross-dressing bit he didn’t even try to cover up.

But back to the good thing about “All Good Things” — that would be Kirsten Dunst, for if there is one thing this strange and creepy film does well it is remind us of just what a talented actress she is. Gosling is good too, but Dunst is “all good,” beautifully nuanced as a young woman whose hopeful dreams turn dark and deadly.

Though the film is a fiction, it is based on the real story of Robert and Kathie Durst. He was the son of a New York real estate magnate; she was a Long Island girl trying to make it in the big city when they met. Love and marriage soon followed. But the other half of the phrase that begins with “all good things” is “must come to an end,” and so they did — badly.

Ten years in, the marriage apparently turned violent and one day Kathie vanished into thin air. No body was found; no murder charges were filed. Over the years the case would occasionally be pulled out and dusted off, most notably in 2000. It still wasn’t solved, but two people close to Robert were killed around the same time — a longtime female friend (played by Lily Rabe), and one of his neighbors in the Galveston, Texas, rooming house where he was living.

The question that has been hanging in the air since Kathie disappeared is: What really happened? That is what the film sets out to answer. It’s exactly the kind of conundrum that appeals to director Andrew Jarecki. Best known for his explosive documentary “Capturing the Friedmans,” (about a family imploding over pedophilia allegations) and for producing this year’s “Catfish” (a controversial doc about people creating false identities online), Jarecki has found his wheelhouse where real life and the bizarre intersect.

His fine documentary sensibility, though, is the film’s downfall. The names have been changed — the couple is now called Katie and David Marks — but little else has. Instead, “All Good Things” is a case of letting the facts get in the way. If the filmmakers had been bolder with their theories, the movie itself would likely have been much better given the general quality of the performances and the artistry of cinematographer Michael Seresin (though the film might have benefited from a bit more of the black mood he brought to “Midnight Express” and “Harry Potter and the Prisoner of Azkaban”).

The facts were certainly a juicy starting point. Jarecki and screenwriters Marc Smerling and Marcus Hinchey spent years culling through police files, newspaper articles and transcripts of the one murder Durst was tried for: that of his neighbor (renamed Malvern here and played by Philip Baker Hall), whose dismembered body was found in Galveston Bay. Durst was cleared of the murder charge, but did a few years for evidence tampering and other minor offenses. Most of the specifics are laid out as the film follows some 30 years of David’s life.

Gosling and Dunst are at their best as a young couple in love. Though you feel the long arm of the family and its steel-fisted patriarch played with a cold efficiency by Frank Langella, the actress infuses Katie with a free-spirited innocence and openness that is so winning you understand why David fell in love, and dad accepted their marriage. Dunst literally lights up the screen. Meanwhile, Gosling wears the rebellious rich boy role like the custom-made tux he dons for their first date. There is a great playfulness the actors create as a hopeful pair defying dad and setting up housekeeping in Vermont, where they run an organic food store (does Vermont have any other kind?).

But the film gets badly off track when the good things start to end. There is the overbearing father for David to contend with, and he’s still haunted by his mother’s suicide he witnessed as a child, but still — multiple murders, cross-dressing disguises? Gosling is given the barest blueprint of a life gone terribly wrong and the actor struggles to make something out of nothing, though he does manage to give the older David an aura of weirdness that is downright creepy.

There is a point during the murder trial when David is asked why he started wearing dresses, heels and a bad blond wig. Basically he says, “it was the easiest way to stop being David Marks.” Which is a reason, not an explanation. And that is how “All Good Things” ultimately fails us. The facts pile up, but the demons that would lead to such dark deeds remain out of sight. Did he or didn’t he? Maybe, probably, who knows for sure? Certainly not us.

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All good things, common sense media reviewers.

Depressing "true" story of violence and destroyed lives.

A Lot or a Little?

What you will—and won't—find in this movie.

The central couple makes all the wrong moves; they

David gives up his dream to work for his father, a

Three (possible) murders are shown to varying degr

The married couple flirts, kisses, seduces each ot

Infrequent use of "f--k" and "motherf----r." Also

The characters regularly smoke cigarettes and pot

Parents need to know that this downbeat drama -- which is based on the true story of a man involved in a disappearance and two deaths over the course of 30 years -- tells the tale of a destroyed marriage and two miserable lives. There's some violence and blood related to the murders, as well as ugly fights between the…

Positive Messages

The central couple makes all the wrong moves; they start out marrying for love, but then major life decisions drive a wedge between them. They grow violent toward one another and then grow apart. They rarely talk or work together try to solve these problems, and eventually their path leads to much darker places.

Positive Role Models

David gives up his dream to work for his father, and it costs him his happiness. He begins to act crazy and violent and alienates his wife, who wants to have a baby. David and Katie continue to spiral out of control, getting worse and worse, without ever taking action to solve their problems or work together. Katie eventually realizes her dream of going to medical school, but she does so partly to hide from her pain and anguish. Both characters tend to drown their troubles in alcohol, drugs, and cigarettes.

Violence & Scariness

Three (possible) murders are shown to varying degrees. Some happen totally off-screen, while one involves a gun and blood oozing from the back of the victim's head. Another victim is beaten to death but not shown. There are bloody clues pointing to the murders. Also occasional arguments and fits of rage; in one scene, the husband grabs his wife and drags her by the hair. She turns up with a black eye in another scene. Discussion of a past suicide.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

The married couple flirts, kisses, seduces each other, and has sex. Nudity is limited to a shower scene in which breasts are visible in silhouette.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Infrequent use of "f--k" and "motherf----r." Also "a--hole."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

The characters regularly smoke cigarettes and pot and snort coke. They also drink quite often in a social context, i.e. beer and wine at dinner or harder drinks at parties.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that this downbeat drama -- which is based on the true story of a man involved in a disappearance and two deaths over the course of 30 years -- tells the tale of a destroyed marriage and two miserable lives. There's some violence and blood related to the murders, as well as ugly fights between the married couple. They kiss and seduce each other and have sex (though there's little nudity). Language is limited to a few uses of "f--k," but there's lots of drinking and drug use, including cigarettes, cocaine, and pot. Teens may be interested to see what stars Ryan Gosling and Kirsten Dunst are up to, but this depressing, flat movie won't cause much of a stir. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (2)

Based on 2 parent reviews

Bland & Blah...

Extremely cliche, poor direction and screenplay, good performances, what's the story.

David Marks ( Ryan Gosling ) is the son of a wealthy property owner ( Frank Langella ). He marries Katie ( Kirsten Dunst ), who is outside the family's social circle, and dreams of running a health food store. But eventually he succumbs to his father and goes to work for the family business, which begins a harrowing decline into anxiety and violence. Katie gets pregnant, but David refuses to become a father. They begin fighting and, eventually, living separate lives. Before long, David becomes involved in a disappearance and two mysterious deaths. Will he be made to face the consequences of his life, or will he simply disappear?

Is It Any Good?

This is director Andrew Jarecki 's fictional debut, and unfortunately, it isn't particularly engaging. Jarecki, who gave audiences the brutally powerful dysfunctional family documentary Capturing the Friedmans , now turns his skills to a "based on a true story" feature film -- and interestingly, he takes a documentary-like approach to the material, narrating the tale with Marks' court transcript and filling in the blanks with deduction and imagination.

The material is relentlessly harrowing, and it's difficult to know just where the characters stand: David is shown to be slightly unhinged, and there's no one to root for. Additionally, Jarecki employs some fairly standard-issue thriller elements, such as jump-shocks and things hiding in the shadows, which seem unworthy of this story. It's difficult, ultimately, to discern the point of the movie, other than to comment on how depressing and futile it all is.

Talk to Your Kids About ...

Families can talk about the violence in the film. What has more impact: the things that are shown, or the ones that aren't? Which is more disturbing, the murders or the violence toward Katie?

The main characters tend to drown their troubles in drinking , smoking , and drugs. These activities never seem to get out of control, but does that make it all right? What would the consequences of this kind of behavior be in real life?

Could David have avoided all of his trouble if he had ignored his father and kept on living the life he dreamed of living?

Movie Details

• In theaters : December 3, 2010
• On DVD or streaming : March 29, 2011
• Cast : Frank Langella , Kirsten Dunst , Ryan Gosling
• Director : Andrew Jarecki
• Inclusion Information : Female actors
• Studio : Magnolia Pictures
• Genre : Drama
• Run time : 101 minutes
• MPAA rating : R
• MPAA explanation : drug use, violence, language and some sexuality
• Last updated : February 11, 2024

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In 'All Good Things,' Many A Dark Development

Ian Buckwalter

A Dark Future: David Marks (Ryan Gosling) and Katie (Kirsten Dunst) embark on an initially happy romance; they marry and run a health food store, but then their lives skid into a downward spiral into abuse -- and possibly murder. Magnolia Pictures hide caption

All Good Things

• Director: Andrew Jarecki
• Genre: Drama/Thriller
• Running Time: 101 minutes

Rated R for drug use, language, violence, and some sexuality

With: Ryan Gosling, Kirsten Dunst, Frank Langella, Philip Baker Hall

Watch Clips

'Open Them'

Credit: Magnolia Pictures

'She's Never Gonna Be One Of Us'

'Like When He Lost His Mother'

Truth just isn't as thrilling as fiction. Or so director Andrew Jarecki seemingly decided in the making of All Good Things , inspired by the story of the wealthy, troubled heir to a Manhattan real estate empire.

The tale of Robert Durst is undeniably bizarre, filled with disappearances, murders and nearly two decades spent in hiding under assumed names and an alternate gender. But the factual record contains more questions than answers.

In Jarecki's previous feature, the documentary Capturing the Friedmans, the director appeared unbothered by ambiguities. Indeed, the lingering uncertainties in the Friedman child-molestation cases forms the core of that film; unanswered questions are an essential part of what makes it so fascinating.

But in his first narrative feature, Jarecki, working with screenwriters Marcus Hinchey and Marc Smerling, decides to fill in the blanks. This requires a great deal of speculation (and the changing of most characters' names), and it turns the film into a CSI -like ripped-from-the-headlines crime thriller. What's most surprising, given the latitude provided by all that conjecture, is that the Durst -- "David Marks" for the purposes of the film -- who emerges is less a character study than a thumbnail sketch.

His story is told in flashbacks, with David (Ryan Gosling) narrating via his testimony in a Texas courtroom in 2003. But most of that testimony seems largely unrelated to the crime he's standing trial for. Instead, it takes the narrative back 30 years, to the larger mystery -- still unsolved -- of the disappearance of David's wife Katie (Kirsten Dunst).

The bulk of the film centers around their troubled relationship. It begins with the whirlwind romance that resulted in the rebellious young David's abandoning his position as heir to his father's business in order to open a health-food store in Vermont with Katie. But he's quickly guilted back into the family fold by his stern and manipulative dad (Frank Langella). Lost in the white-collar high-rise world, he begins spiraling deeper and deeper into his own disturbed mind. Gosling plays this with his usual brand of pained intensity, but without enough specificity in the script, all that smoldering introspection just becomes frustrating inscrutability.

After David is lured back to his father's business, the unhappiness of his new corporate lifestyle catalyzes something dangerous in his personality. Magnolia Pictures hide caption

After David is lured back to his father's business, the unhappiness of his new corporate lifestyle catalyzes something dangerous in his personality.

It's Katie who's given far more dimension. She's slowly broken down by David's abuse, which increases in direct proportion to her growing independence. Dunst gives one of the most complex performances of her career, as Katie swings from a sunny, free-spirited disposition to confusion, depression and ultimately defiance. We're granted greater access to who she is: For the movie's strongest stretch, it seems to be more about her than David. That is, up until she disappears.

Jarecki attempts to connect a huge number of far-flung dots in Marks' history, creating a scenario that links all of the crimes and malfeasances that spring up: Katie's disappearance, two murders, a backroom deal between a district attorney and David's family, and an intimation of willful ignorance of Marks-family criminality on the part of Sen. Daniel Patrick Moynihan -- the one character, oddly, who isn't renamed for the movie's purposes.

But it all feels incomplete. There's plenty of information on what (might have) happened, but not much thought given to why. The film keeps circling back to David's troubled relationship with his father, and the trauma created when he witnessed his mother's suicide as a boy. But they're surface explanations for much deeper issues -- more difficult issues --that the film seems less interested in exploring.

All Good Things

Having taken ambiguity to disturbing extremes in his slippery 2003 documentary "Capturing the Friedmans," director Andrew Jarecki unveils a very different true-crime saga in "All Good Things."

By Justin Chang

Justin Chang

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Having taken ambiguity to disturbing extremes in his slippery 2003 documentary “Capturing the Friedmans,” director Andrew Jarecki unveils a very different true-crime saga in “ All Good Things .” Modeled on the strange story of Robert Durst , the wealthy Gothamite long suspected but never implicated in his wife’s 1982 disappearance, this feverishly creepy but dramatically miscalculated picture reps an unhappy marriage of murky psychodrama and dubious theorizing. Finally opening through Magnolia after a lengthy holdup by the Weinstein Co. (which ended with Jarecki buying back the rights), the long-gestating 2008 production will struggle to parlay mixed critical response into theatrical interest.

Marcus Hinchey and Marc Smerling’s script folds meticulous research and considerable speculation about the Durst affair into the tale of the singularly troubled David Marks (Ryan Gosling), scarred at a young age by his mother’s suicide and thereafter a perpetual disappointment to his intimidating father, Sanford (Frank Langella), the head of a seedy Manhattan real-estate empire. It’s 1971 when David courts Katie (Kirsten Dunst), a lovely young woman who seems to offer him an escape from his childhood demons. For her part, Katie sees in David a chance at a better life than she’s known growing up in Long Island.

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The film is thus framed as a tragic love story between two opposites, as well as a close study of marital meltdown. After he and Katie spend a few happy years in Vermont, where they open a health-food store called All Good Things (hence the highly ironic title), David succumbs to his father’s pressure and enters the family business — a decision that causes both his psyche and his marriage to unravel. Spending his days collecting rent from porn theaters and massage parlors in Times Square (whose sordid ’70s ambience is vividly re-created here), David becomes increasingly cold, at times violent toward Katie, even forcing her to have an abortion when it’s clear he has no desire for children.

There’s much more to come, in an increasingly freakish and ominous story involving multiple homicide, concealment, cross-dressing and blackmail, as David flees New York for Galveston, Texas, and strikes up a bizarre friendship with reclusive lodger Malvern Bump (a terrific Philip Baker Hall) — who, like David’s friend Deborah (Lily Rabe) and even Katie herself, makes the mistake of seeing this scion of American privilege as an opportunity. The more the film implicates David, the more it distances itself and the viewer, playing out in the emotionally detached but sensationalistic, overripe manner of a tabloid freakshow.

The script’s wealth of exceedingly odd details suggests an attempt to hew close to known facts, an affirmation that truth is often stranger than fiction. But truth is a notion the film circles only vaguely and at times disingenuously, damning its central figure even as it conveniently falls back on the creative liberties afforded by dramatization. It’s hard to shake the feeling that “All Good Things,” like so many fact-fiction hybrids, would have been far more compelling as a straight documentary; Jarecki, who cleverly exploited a treasure trove of homevideo footage for “Capturing the Friedmans,” seems unable to marshal the resources of narrative filmmaking with the same verve.

As the decades-spanning story jumps around in time, Gosling is required to don a woman’s blonde wig one minute and layers of old-age makeup the next; while he’s ably cast as a man whose outward, baby-faced charm conceals darker impulses, the character is denied the psychological coherence that would invite not merely revulsion, but empathy. Dunst is entirely sympathetic as an optimistic young woman whose safety we instinctively fear for, and the film never quite recovers from her departure (whatever the reasons for the delayed release, it’s wonderful to see the actress onscreen again after a two-year absence). Langella is predictably imposing in a reductive domineering-dad role.

Michael Seresin’s 35mm lensing conveys a dark grit and texture redolent of pictures from the ’70s, and Wynn Thomas’ production design effectively spans a host of locations, from a humble Vermont market to a glassy Manhattan executive suite. Noisy score ratchets up the atmosphere to tediously operatic levels.

• Production: A Magnolia Pictures release presented with Groundswell Prods. of a Hit the Ground Running production. Produced by Marc Smerling, Andrew Jarecki, Bruna Papandrea, Michael London. Executive producers, Bob Weinstein, Harvey Weinstein, Michelle Krumm, Janice Williams, Barbara A. Hall. Co-producers, David Rosenbloom, Marcus Hinchey. Directed by Andrew Jarecki. Screenplay, Marcus Hinchey, Marc Smerling.
• Crew: Camera (Technicolor), Michael Seresin; editors, David Rosenbloom, Shelby Siegel; music, Rob Simonsen; music supervisor, Susan Jacobs; production designer, Wynn Thomas; art director, Russell Barnes; set decorator, Richard Devine; sound (Dolby Digital), Pawel Wdowczak; supervising sound editor, Kelly Oxford; sound designers, Karen Vassar, Tim Walston; re-recording mixers, Leslie Shatz, Myron Nettinga; visual effects supervisor, Ian Noe; visual effects, Giantsteps, Brewster Parsons; stunt coordinator, Bryan Smyi; associate producers, Colin Wihm, Jennifer Rogen; assistant directors, David Wechsler, David Webb; casting, Douglas Aibel. Reviewed at Aidikoff screening room, Beverly Hills, Oct. 11, 2010. MPAA Rating: R. Running time: 101 MIN.
• With: David Marks - Ryan Gosling Katie Marks - Kirsten Dunst Sanford Marks - Frank Langella Malvern Bump - Philip Baker Hall Janice Rizzo - Diane Venora Deborah Lehrman - Lily Rabe Lauren Fleck - Kristen Wiig With: John Cullum, Trini Alvarado, David Margulies.

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All Good Things Review

There're definitely some good things about this movie but not all is good, as the title would lead you to believe. Kirsten Dunst gives a surprisingly wonderful performance in a film that doesn't seem to know what kind of movie it actually wants to be.

Have you ever seen a movie that seems like it's going in one direction but ends up going in a completely different one? Well that is exactly what All Good Things is like. The movie that it started out as was quite nice. It reminded me a little of "A Beautiful Mind." The story of a sweet girl-next-door who falls in love with a promising yet troubled young man. Through the years, her love is able to help him find his sanity and overcome his mental instability. Like I said, that is the movie that All Good Things starts out to be. Then suddenly, it became something totally different, a crime thriller about a cross-dressing serial killer. That's right! I said, a cross-dressing serial killer! I think it's the films sudden and drastic turn that disappointed me because I really liked the film that I had been watching up to that point.

I understand that the film is based on a true story and I guess that gives the filmmakers an excuse but I was still disappointed with the overall movie. That being said, there were elements that I really enjoyed and the biggest one was actress Kirsten Dunst's performance. I haven't always been the biggest fan of Dunst and she certainly has taken a lot of unnecessary criticism over the years but in this role she really shines, which is a shame because the rest of the film just doesn't work. But maybe that is the beauty of her performance. She is so wonderful and likable in the role that we, as an audience, fall in love with her, which makes the tragedy that becomes her character that more devastating. Of course, an unintended result is that as soon as her character is missing from the storyline, you no longer care about the outcome.

You can tell that Ryan Gosling, who is a wonderful actor and someone I usually like, is honestly trying his best in this part but is buried by the troubled script. He does the best he can, portraying an older version of his character in very poorly applied make-up but the scenes never really ring true. The same goes for when his character becomes a cross-dressing serial killer. While you can tell that the actor is really working hard, the scenes are almost laughable and seem completely out of place in the story that I thought I was watching. Maybe that is what director Andrew Jarecki wanted. To make the audience confused and uncomfortable with what they are watching. But it is such a shame because I was really enjoying the movie before it took its wild turn. It feels like two or three different movies rolled up into one and it never really chooses which one it wants to be.

The movie is told in flashbacks from a murder trial where David Marks (Gosling), the son of a powerful real estate tycoon is testifying. The story is set in the '1980s and begins by showing us how David met his young bride, the sweet and beautiful Katie (Dunst). David's father, played by Frank Langella, is hard on him and does not approve of his marring Katie. Katie and David decide to pursue their dream of living a quiet life in the country, away from his father, so they move to Vermont. Eventually, things don't work out and David's father manipulates him into returning home and joining the family business. While Katie goes to medical school, their relationship begins to fall apart. As David slowly becomes more distant, his anger grows and Katie starts to suspect that there is something wrong with him. As David becomes more violent and controlling, Katie becomes distant until she eventually disappears without a trace. David soon disappears as well but takes on a strange new persona and an even stranger relationship with an older man played by Phillip Baker Hall. Eventually, the story catches up with the opening scene and we discover that twenty years later, David is on trial for Katie's death.

As I mentioned before, the film is based on a true story so I understand the filmmakers desire to include the whole story but I'm not sure if it helped the movie as a whole. Including the cross-dressing serial killer sub-plot takes away from the rest of the film and Dunst's wonderful performance. It even lessens the strong performance that Gosling was trying to give before the storyline went south. Again, I understand the impulse to include the b-plot but there have been many successful bio-pics in the past that have just left out subplots that do not help the primary story, such as "A Beautiful Mind," for example. That being said, I definitely give Jarecki a lot of credit for taking a big swing with the material and trying to tell a different kind of story. I just wish the film were a little clearer on which story it was trying to tell. In the end, All Good Things has a few good things about it but certainly not all. While its always interesting to see Gosling loose himself in a role, it is really Dunst that shines, in what may be her best performance yet.

ALL GOOD THINGS

By: debbie lynn elias

Think you know what’s coming with Academy Award nominations?  Well, think again because as the title infers, all good things comes to those who wait and in this case, that means Ryan Gosling who, with his turn as David Marks, may just find his name announced come Oscar nomination morning.  And as for the film itself, “good” is an understatement when it comes to describing  ALL GOOD THINGS.  Based on or “inspired by” the true story of Robert Durst and the still unsolved disappearance of his wife Kathi in 1982, ALL GOOD THINGS may have changed the names “to protect the innocent” and grant the filmmakers a bit of literary license, but the facts are true and supported by immaculately detailed and impeccable research by director Andrew Jarecki and screenwriters Marcus Hinchey and Marc Smerling (who also serves as producer).    The result is a dynamic, powerfully lensed, well written and well acted film.  A fascinating story in and of itself, the film takes on entirely new levels of intensity and emotional gravitas thanks to powerful performances by Gosling, Kirsten Dunst and Frank Langella and well-paced, tension fraught storytelling that diverts the mind with sub-text, keeping the viewer on the edge of their seat waiting to see what will happen next.

Suspected of murdering Kathi, Robert Durst was never arrested and never tried to a judge or jury, but always remained a primary “person of interest”, apparently even to this day.  What he was convicted for, however, was improper disposal of a dead body  – that of his neighbor – who was found in various bits and pieces in Hefty trash bags that were spotted by a young boy playing by the side of a river in the Galveston, Texas area.  Pleading self defense, Durst was found innocent of any one of the various possible murder or manslaughter charges, but held accountable for his disposal method of the body.  After an exhaustive search, the filmmakers of ALL GOOD THINGS managed to locate and obtain a transcript – and even some recordings – of the complete trial testimony in the Galveston case, including Durst’s own testimony.  Often a rarity for a defense attorney to put his client accused of murder/manslaughter on the stand, Durst did take the stand and recanted his life story for all to hear; a life story that Jarecki, Smerling and Hinchey unfold for us now.

Mimicking the Durst story itself, ALL GOOD THINGS gives us David Marks.  Eldest son of NYC real estate mogul, Sanford Marks, David and his father have never been close and, in fact, were emotionally estranged from the time David was 7.  You see, David’s mother committed suicide by jumping off the roof.  The all knowing, all powerful Sanford thought that by having little David stand on the ground below, it would keep Mrs. Marks from jumping.  It didn’t.  Obviously scarring him for life, David never fit in with the family or the business.  Despite repeated concerted efforts by his father to drag him into the dynasty, David withdrew, using his ample monetary resources for drugs, alcohol, escapism – until he met Katie.  A blue collar working girl from Long Island, Katie is a free spirit.  Open, honest, at ease with everyone and everything, she is the antithesis of everything that David has known and he is immediately smitten with her.    Whether a move of defiance, independence or true love, David marries Katie.  Moving to Vermont and establishing their own health food store, “All Good Things”, life is idyllic for the couple, that is until Sanford pays a call on Katie.

Alluding to Katie as being materialistic and mercurial is enough to force David back home into the fold, doing his father’s bidding. After all, if it will take money to keep his wife and keep her happy, he better do it.   It is also the beginning of the end for David and Katie as Katie easily falls into a lifestyle of “have” as opposed to her upbringing as being one of the “have nots.”   With money now no object, the world is her oyster as she hits the party scene, sports between multiple residences and even gets accepted to medical school.  On the flip side, she also sees her marriage decline and David’s temper, anger and need for control escalate, until the day comes when the two have a fight and Katie is never seen again.

As Katie, Kirsten Dunst is a breath of fresh air among upper crust stuffy. She has a lightness and innocence that is precious and adorable. Her initial chemistry with Ryan Gosling is charming and sweet and then intensifies with a palpable darkness.  Dunst and Katie transform before your very eyes – physically and emotionally.   A dinner seen where Katie meets Sanford Marks for the first time may seem insignificant, but Dunst makes it interesting and important, adding a polish that the character didn’t demonstrate earlier.   Dunst does a complete 180 as Katie changes.  Outwardly we see that make-up is harsher, clothes are no longer “hippy”, the attitude is more arrogant and publicly demanding, but then comes the kicker – a complete personality shift as Katie spirals into a black hole from which she will not recover.  Absolutely fascinating to watch Dunst in this chameleonic transformation.

Pardon me for saying, but sometimes I have to wonder about Ryan Gosling’s mental state given some of  “psychotically bent” roles he often undertakes; roles that your average actor would never attempt (and if they did, they would undoubtedly do them badly), but roles with which Gosling just soars.  Such is his portrayal of David Marks.   As David, Gosling is creepy; making your skin crawl from start to finish.  And when he suddenly becomes “a woman” – there are no words to describe the emotional effect of this visual and the nuanced emotion Gosling presents within this particular incarnation.  (Yes, folks – on Durst’s arrest in Texas, he was dressed as a deaf, mute woman – a persona in which he had been living for 4 years)  This is a new Norman Bates before us and it’s riveting.  And then Gosling’s chemistry with Frank Langella – perfectly wonderful as the cavern between father and son is frigid, setting up some interesting psychological situations as the movie progresses.

As comes as no surprise, Frank Langella is impeccable as Sanford Marks. The strength that he brings to the role of Sanford is imposing and believable. He commands the screen with each appearance.  And just hold onto your seat for a climactic scene involving father, son and a car.  Langella – and the story twist – will make your head spin and your heart stop.

Written by Marc Smerling and Marcus Hinchey and directed by Andrew Jarecki, this is truly a collaborative creative effort.  Pacing within the story and the film is superb, excrementally building tension and fascination with a “dare we look further” allure.  Visually, sleek, slick, sexy,  polished cinematography by Michael Seresin at times borders on that at times borders a high gloss black-blue film noir tint, much as he did with “Harry Potter and the Prisoner of Azkaban.” Stunning to look at.  From the opening imagery of an inky black night, a metal bridge and the thick sludge-like appearance of crude floating on top of the river, you are spellbound only to be jarred and jolted with the sudden disruptive PLOP PLOP PLOP (and it ain’t MALKA Seltzer) of large items being dumped over the bridge into the river disturbing the mystery.  It is impossible to look away.  You are reeled in, begging for more.

And then you meet this strange, weird looking, disheveled  man on a witness stand who seems mentally unbalanced.  To the audience, one is caught off guard  and instinctively red flags of “caution, beware” shoot up on your own radar.  Then you hear him speak in this slow, deliberate, almost defective Norman Bates type of cadence and it creeps you out even more.  But you listening while being treated to the sweetness of vintage happy family Super 8mm movies.  Suddenly, the film strip ends.  The voice stops.  Another voice is heard – “And what happened then?”  By this point you are craving more, dying to know what happened. And the insatiable thirst for the story just keeps building.  And the deliberateness of each shot, each movement, each piece of dialogue,  all feeds into the every building suspense.

What you have seen and heard – and much of what you see and hear as narrative throughout ALL GOOD THINGS,  is the actual trial testimony given by Robert Durst during the Galveston trial.  Using this as a base, interviews with friends and family of the real life players are then intertwined and expounded upon, leading to well defined characters, while actual events are incorporated with detailed specifics, and given the uncertain outcome of the story, there is just enough questionability and inconclusiveness to lead to “reasonable doubt”, allowing the audience to come to their own conclusions as to what happened to Kathi Durst/Katie Marks, not to mention learn a few other tidbits along the way that may or may not impact their own impressions.  With the framework in place,  Andrew Jarecki jumps in with masterful direction.

A chilling psychological portrait of a man, a marriage and a family.  An intriguing, fascinating and speculative look at an as yet unsolved disappearance of a talented, vibrant young woman who fell victim to ALL GOOD THINGS.  Meticulous.  Impeccable.  Compelling. Everything is good with ALL GOOD THINGS.

David Marks – Ryan Gosling

Katie Marks – Kirsten Dunst

Sanford Marks – Frank Langella

Directed by Andrew Jarecki.  Written by Marc Smerling and Marcus Hinchey.

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‘All Good Things’: not quite as compelling as the murder-tale it’s based on

A review of the movie "All Good Things," starring Ryan Gosling and Kirsten Dunst. The film is based on the story of Robert Durst, a wealthy New Yorker whose wife disappeared.

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Though well-intentioned and made with skill, Andrew Jarecki’s “All Good Things” never recovers from being less interesting than the true story it’s “inspired by”; you watch it wanting to scurry off to read accounts of the real thing, rather than being caught up in the filmmaking.

Robert Durst, whose wildly wealthy New York family at one point owned much of midtown Manhattan, may well have murdered his wife, Kathie, whose disappearance in 1982 became one of New York’s most famous missing-persons cases. She was never found, and later Durst was linked to two other murders, for which he stood trial for only one. Though he admitted to dismembering and dumping the body of his elderly neighbor, he was acquitted of the murder charge, and now lives as a free man, cushioned by a $65 million settlement from his family.

Jarecki (“Capturing the Friedmans”) and screenwriters Marcus Hinchey and Marc Smerling move quickly through the eventful life of Durst (called David Marks here, and enigmatically played by Ryan Gosling), offering conjecture as to how the three murders were linked, and why he’s the only logical person behind them. Kirsten Dunst is sweetly wistful as David’s wife, Katie, whose sparkling life force in the early scenes of their courtship visibly bleeds away as the marriage progresses. As David’s real-estate magnate father (though the sort of wealthy man who insists on splitting the check at his son’s wedding brunch), Frank Langella huffs and puffs. “She’ll never be one of us,” he tells his son early in the movie, not seeing that that’s precisely why David’s in love with her.

There’s a nicely maintained tension as the story progresses, though Jarecki has a tendency to undercut it with too-melodramatic music (often sounding like a misguided swarm of bees) and weirdly dark interiors. (After “Black Swan” and this, I have to wonder: Does no one in New York turn the lights on?) As “All Good Things” comes to an end, we’re given little doubt that David Marks/Robert Durst may well be a murderer; what we still don’t know is why.

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Moira Macdonald: 206-464-2725 or [email protected]

All Good Things (United States, 2010)

On paper, the story of Robert Durst makes for fascinating drama, even though it's missing an ending and several parts of the middle. When someone is writing a nonfiction book or making a documentary, such things have limited importance. But when it comes to a feature film, leaving an audience with an incomplete feeling is not always the best approach. Director Andrew Jarecki, best known for his documentary, Capturing the Friedmans , deserves credit for sticking as much to the facts as he reasonably can. However, by not resorting to invention, his dramatization of Durst's life and alleged crimes, All Good Things , feels unfinished.

All Good Things isn't just based on Durst's well-publicized story (which was the subject matter for an episode of CBS's 48 Hours Mystery ), it is Durst's story. For creative and legal reasons, the names have been changed. Durst, as played by Ryan Gosling, is now "David Marks." His wife, Kathie McCormack, is now "Katie McCarthy." And so on... Most of the narrative problems with All Good Things stem from the fact that Durst is suspected of having done some really bad things, but most of them have never been proven. There's enough circumstantial evidence for Jarecki to take the position that David Marks is guilty, but he tells more than he shows. And, although the movie posits a solution to an infamous missing person's case, it does so in a manner that is less than satisfying.

The narrative spans a roughly 30-year period, beginning in the early 1970s, jumping to the late '70s, the early '80s, and finally the early '00s. It opens with the meeting between David Marks, the son of a New York City real estate mogul, and Katie McCarthy (Kirsten Dunst), a woman of no special pedigree. They marry, much to the chagrin of David's father, Sanford (Frank Langella), and move to Vermont, where they live the country life for a while before being wooed back to the city by a persistent Sanford. Their idyllic marriage starts to sour when business pressures cause David's psychological problems (stemming from a childhood incident - he saw his mother kill herself) to escalate and Katie is forced to abort the child she desperately wants because David is firmly set against fatherhood. From there, things spiral into darker territory. David becomes emotionally and physically abusive and Katie begins snorting cocaine as a means of escape since, according to a lawyer she visits, she is essentially trapped in her marriage.

Rather than presenting events in a purely chronological fashion, Jarecki elects to use a non-linear approach, with the majority of the story being related in flashbacks (a visual representation of David's testimony at a trial), although there are mysterious, noir-ish inserts of a woman throwing trash bags off a bridge into a river at night. One generally expects there to be a point to using a wrap-around style; however, in this case, it adds nothing and, if anything, detracts from the progression of the narrative by the inclusion of distracting and unnecessary voice-overs.

The complexity of the relationships detailed in All Good Things make for a refreshing change from the staple interactions viewers have come to expect in American-made dramas. The twisted, co-dependence of David and Katie goes a step beyond how movies often depict dysfunctional relationships, and there's an equal amount of conflict in the way David relates to his powerful, emotionally shielded father. In the end, it's apparent that everything David does, including perhaps committing murder, has some relation to Sanford. In a late scene, David makes a cryptic comment to his father about them now both being "the same" that is chilling because of its implications.

This kind of dark material is familiar territory for both Frank Langella and Ryan Gosling, and their assured performances reflect their ability to move freely through grim surroundings. It's another matter for Kirsten Dunst, who appears to be gravitating toward more adult roles after spending the majority of her career in lighter, box office friendly endeavors. Her work as Katie is credible and should open doors for her with filmmakers reluctant to hire someone who is known primarily as Mary Jane Watson. (In fact, she will be appearing in Lars Von Trier's next project, which is about as far from the mainstream as one can get.) Kristin Wiig has a small supporting role that is in no way supposed to be funny, and illustrates that she may be a better dramatic actress than a comedienne.

A victim of The Weinstein Company's continuing economic woes, All Good Things has languished on the distributor's shelves since it was completed in 2008. Jarecki, concerned that it might never see the light of day, bought back the domestic rights and shopped them to Magnolia, which is using a multi-phased approach (pay-per-view TV simultaneous with a Landmark theatrical release) to open All Good Things . The film, although deeply flawed, is at times compelling, even if it seems as if a reel is missing. And, when the end credits begin rolling, one can be forgiven the thought that perhaps Jarecki, gifted non-fiction filmmaker that he is, would have been better served telling this tale as a documentary. The feature fit is awkward and ultimately unsatisfying.

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All Good Things

By Peter Travers

Peter Travers

The names have been changed but hardly to protect the innocent in Andrew Jarecki’s speculative, spellbinding true-crime story, All Good Things . Ryan Gosling stars as David Marks, the heir to a New York real estate fortune, who became a person of interest to the police when his wife, Katie (Kirsten Dunst), disappeared from their Westchester home. Her body was never found. When the case is reopened, David — dressed as a woman — retreats to Galveston, Texas, where he links up with neighbor Malvern Bump (Philip Baker Hall), 71, whose dismembered body is later found in the bay. Durst pleads self-defense. He is also questioned but not charged in the murder of his longtime college friend Deborah (Lily Rabe), a journalist shot execution style in the back of the head at her Los Angeles home. David served three years in jail for bail jumping and evidence tampering (dumping Bump’s body) and now lives in Florida where he sells real estate.

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Is this ringing a bell? It should. David bears more than a passing resemblance to Robert Durst, the real-estate heir diagnosed with Asperger syndrome, whose wife Kathleen McCormack went missing in 1982. Durst was questioned in the shooting death of his journalist friend Susan Berman, the daughter of a Jewish mobster, and claimed self-defense in the death and dismemberment of his Galveston neighbor Morris Black. Jarecki’s film directly implicates Durst, as David Marks, in all three homicides.

Audiences may be surprised that Jarecki, who won acclaim and an Oscar nomination for Capturing the Friedmans , a 2003 documentary about a family accused of child molestation, did not tell the Durst story in non-fiction form. Despite the obvious legal reasons, it’s clear that Jarecki wants to probe the psychological layers of a man glibly dismissed as a one-dimensional psychotic. And he used his documentary team to conduct his own exhaustive investigation into the case, not relying on a single article or clip-job book to muster his arguments. The result is a potent and provocative movie that will keep you up nights. All Good Things , ironically named, in “Rosebud” style, after the Vermont health food store the couple opened in the happier days of their marriage, is built to disturb as well as enlighten. And Jarecki, as a first-time feature director, elicits terrific performances from a large cast. Gosling gets so deep into character you can feel his nerve endings. Dunst is heartbreakingly good as the wife who senses fear too late. Rabe excels as the journalist friend with ulterior motives. And Frank Langella brings menacing charm to the tycoon father who allowed his young son to watch his mother take a suicide leap off the roof of the family mansion. All Good Things throws so many narrative balls in the air that you may struggle to catch up. It’s worth the effort. Jarecki is a master of the telling detail.

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Revisiting All Good Things After the Revelations of The Jinx

If Robert Durst is indeed convicted of first-degree murder , in a way, he’ll have All Good Things to thank. Durst was such a fan of the 2010 film based on his life that he offered its director, Andrew Jarecki, an exclusive sit-down interview. That interview became The Jinx , which ( LAPD aside)  almost certainly uncovered the evidence that led to Durst’s arrest on Saturday for the murder of his friend Susan Berman . That’s a better legacy than most movies with a 32 percent Rotten Tomatoes rating can manage.

All Good Things had the bad fortune to come out around the same time as Blue Valentine , and the two movies were superficially similar enough (Ryan Gosling, class tensions, love gone wrong) that Good Things got slept on a bit, at least until The Jinx premiered and reminded everyone of its existence again. But that TomatoMeter score doesn’t lie — it is not a very good movie. It’s not incompetent  by any means, it just … never really comes together. As “David Marks,” Ryan Gosling pulls off aspects of the Durst persona — he’s believable as a moony hippie, a deranged psychopath, and an eccentric old man — but he has trouble finding a through-line that unites them. (He also misses Durst’s patrician arrogance, though perhaps Jarecki had to meet the man in person to notice that.) Its pacing is also slightly off: Jarecki spends the first three quarters of the film on the disintegration of Marks’ marriage, then rushes through the Berman and Morris Black killings (here they’re “Deborah Lehrman” and “Malvern Bump”) out of biographic necessity.

Even though it paints him as a murderer, it’s easy to see why Durst enjoyed the film. In this telling, Marks was an idealistic dreamer who had no interest in his father’s corrupt real-estate empire, whose erratic behavior was the result of a tragic battle with mental illness, and whose utter disinterest in procreating was a noble effort to avoid passing on his disorder. And Jarecki downplays the worst of his crimes, likely for legal reasons. The murder of Marks’ wife (played by a great Kirsten Dunst) is artfully elided, and his role in her disappearance is only implied. Here Lehrman is a desperate blackmailer, and Jarecki places Marks’ guilt at one level of remove by making Malvern Bump her assassin. Bump’s own death flatters Durst’s trial account — he really did have a gun! — and the film seems more impressed than angry when Marks is able to get off by claiming self-defense.

But there are still pleasures to be had from watching All Good Things now, from Lily Rabe’s gushy portrayal of Lehrman — instantly recognizable from her thick black bangs — to Jarecki’s habit of cutting to isolated tidbits of action, which plays as a rehearsal for the reenactments in The Jinx . And there’s one moment of dramatic irony that had me do a spit-take right at my screen: As Marks begins muttering to himself during a romantic midnight drive, his wife turns to him and asks, “Why do you always talk to yourself so much?”

Right now, the real Robert Durst is likely asking himself the same question .

You can watch it on Netflix here .

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All Good Things Reviews

No All Critics reviews for All Good Things.

Movie Review: All Good Things

All good things is a movie suffused with underlying loss..

Posted January 3, 2011

All Good Things is a movie suffused with underlying loss—it permeates the eerie machinations of the main character David Marks (a fictionalized version of Robert Durst, son of a wealthy developer, his wife notoriously missing). His mother killed herself when he was a small boy. This ostensibly leaves David Marks guarded. At times he appears psychotic , talking to himself and acting strangely, even violently to his wife.

Marks’ marriage unravels when he is compelled by obligation to work in his family real estate business. We are led to believe he is too afraid to have a child or make responsible decisions that he was permanently scarred after witnessing his mother’s fatal jump off a roof. In one of the most heart wrenching scenes (although the viewer feels unsympathetic since David Marks has ostensibly murdered his wife) he confronts his father about why he hadn’t protected­­­ him from seeing his mother jump. His father explained he’d hoped if his wife saw his son, it would keep her from jumping.

A family left after suicide wants a narrative of healing, but it can be difficult as the inclination is to look for someone to blame. Even if we understand ninety percent of suicides are caused by mental illness, families still may fault each other. Toxic distrust and a sense of betrayal can derail communication and healing. The real life brother of Robert Durst, scion of a three-generation real estate empire is quoted in the news as saying, “I always wonder what would have happened, had she (my mother) lived. And so I’m sure it had a huge affect on all my siblings and me. Having raised three children of my own, I’m amazed my father was able to raise children by himself, I just find that an astounding accomplishment.”

When I was a child trying to understand my mother’s suicide (which occurred when I was four years old) I would often be confused about the difference between murder and suicide. Young children find it impossible to imagine a parent would willingly leave them, nor can they comprehend how a mother or father could feel so tortured they would not think of their children. Kids can secretly think their parent was murdered even if they are told the truth. In All Good Things the message is unsettling for those of us who may feel marked by suicide but not stunted. Although Ryan Gosling does a gripping portrayal depicting a troubled man’s disturbing decline, the psychological integrity of the film is unconvincing. The untold story is about how two brothers were affected in such vastly different ways by the loss of their mother.

Portrayals of children left behind (by violence, by death, by tragedy) are so often stories of madness and scars—but there is another story: Those who are left strong at the broken places. I would love to see that movie.

Nancy Rappaport is associate professor of psychiatry at Harvard Medical School.

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ALL GOOD THINGS

"all bad things".

What You Need To Know:

(HH, HoHo, LLL, VVV, SS, NN, A, DD, MMM) Strong depressing humanist worldview with strong homosexual content when male lead cross-dresses to hide out from the law and there’s some implication he's enjoying it beyond the disguise aspect; at least 30 obscenities and profanities, mostly variations of “f” words and GD; very strong and strong violence includes implied killing of woman’s dog by husband (which leaves her devastated), male lead talks a friend into shooting a woman friend of his with grisly aftermath shown, it’s implied that male lead pulls life support on his elderly father, bone saw and bags stuffed to the limit are shown that implies corpses of murder victims are chopped up before being dumped in a river, female lead disappears, never to be found, implied murdered, graphic discussions of the fact that male lead as a boy was forced by father to watch his mother leap to her death and had to see her brains scattered on the ground, and female lead is verbally coerced into having an abortion, a decision she doesn't want to comply with and ultimately expresses deep regret for; brief depicted sex scene and some sexual innuendo includes cross dressing; brief upper female nudity as woman enters shower behind her husband and upper male nudity several times; main male lead drinks throughout film; smoking by multiple characters and male lead smokes marijuana a few times in the film, and female lead and a friend are shown cutting cocaine lines, then are shown high afterward, but no actual snorting shown; and, main male lead and his father are engaged in criminal activity for their family fortune, shown plotting deceit and picking up rents in cash from slums, porn theatres, etc.

More Detail:

ALL GOOD THINGS is based on a true story, but it’s a deeply unpleasant tale of a working-class woman who falls in love with a wealthy but seemingly nice and down-to-earth man and gets caught up in his deceitful world after it’s too late to leave him. He and his father expect her to just accept the high life and its material rewards without questioning how they are gained. [SPOILER ALERT] But, she starts to dig deeper into their criminal enterprises and is subjected to one emotional, physical or psychologically abusive situation after another. This ultimately leads to her disappearance, which the movie implies was actually a murder by her husband.

The husband ultimately gets away with everything in ALL GOOD THINGS. This makes this morally confused movie one that clearly shows the man is an evil sociopath, but it offers no uplift and no redeeming content, or even any enjoyable moments for that matter. ALL GOOD THINGS wastes fine performances and solid production qualities on a story that almost no one of a healthy mindset could possibly enjoy. Needless to say, the movie’s foul language, violence, sex, and nudity contribute to its depressing nature.

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A Tricky Point of View in All Good Things

• Christian Hamaker Crosswalk.com Contributing Writer
• Updated Apr 16, 2013

Jarecki's film is grounded by Gosling's strong performance as David, and by the other actors, all of whom shine. Nevertheless, the film is largely conjecture, and although it's interesting speculation, it feels like a hit job on a man for crimes for which he has never been charged. The final impression the film leaves is one of unseemly guesswork and tabloid tactics that are more worthy of rebuke to the filmmakers than to Durst himself. CAUTIONS :

• Language/Profanity:   "F" word; "Jesus"; "a-s"; "a-shole"; " hell "; "motherf-----".
• Alcohol/Drugs:   Smoking and drinking, including drug use, at several moments during the film's running time, including joints and lines of cocaine; drinking and driving.
• Sex/Nudity:   Katie and David live together; they are first shown in bed kissing, but nothing is seen below their shoulders; later, after they're married, he removes her underwear and they undress each other as they kiss, and the film cuts to after they've had sex; Katie is shown in a bikini; Times Square is shown in an era when it was populated by prostitutes and sex shops; a brief second from a porn movie can be seen; David strips to his underwear and jumps in a lake; Katie, breasts exposed, joins David in the shower and they kiss; David dresses as a woman while in hiding.
• Violence/Crime:   Film revolves around the murder of multiple people, discussed through audio recordings and once shown; David saw his mother jump to her death, and we hear about the condition of the mother's body after impact; David throws a chair and knocks down a bookshelf; a woman is shown at an abortion clinic, and she later expresses confusion about whether or not she regrets the act; David grabs Katie by the hair and forces her out of a house; Katie flees to a neighbor's apartment in fear, but returns to David's apartment, then is seen the next day with a black eye; visual evidence of a dog's death; David keeps handguns in a drawer; a woman is shot, and her corpse shown against a blood-drenched floor; a man falls down, dead; a killing is claimed to be self-defense; a bloody saw is shown as a man dismembers a body; the body parts are dropped in bags off a bridge.
• Religion/Morals:   David and Katie begin living apart but stay married; Sen. Daniel Patrick Moynihan is shown telling an aide to return incriminating evidence to the Markses because the issue is "a family matter."

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All Good Things

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All Good Things

Two big-city teenage sisters are sent to their grandparents' farm for Christmas break against their wishes. While there, the sisters connect to their roots and help save the farm from forecl... Read all Two big-city teenage sisters are sent to their grandparents' farm for Christmas break against their wishes. While there, the sisters connect to their roots and help save the farm from foreclosure. Two big-city teenage sisters are sent to their grandparents' farm for Christmas break against their wishes. While there, the sisters connect to their roots and help save the farm from foreclosure.

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• Trivia Skyland Ranch in Gold Bar Washington, one of the locations used for filming, is a long term residential drug and alcohol treatment ranch. Several horses seen in the film are part of the equine assisted therapy program used by residents at the ranch on a daily basis.
• Goofs At around 37 mins, the 3 women are cooking toad-in-the-hole, using just bread, and eggs. This traditional British recipe has no bread, it is sausages cooked in a Yorkshire pudding base.
• Connections Referenced in The Seduction: The Seducer (2019)

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• Runtime 1 hour 41 minutes

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