| Original Score: 2/5
| Original Score: 2/4
| Original Score: C+
| Original Score: 4/4
| Original Score: C
| Original Score: 3/4
| Original Score: 1.5/4
There's a fascinating story here for a bolder filmmaker, but after so much meandering it's a relief that All Good Things must come to an end.
Jarecki knows how to make scenes of boisterous family reunions and quiet moments between lovers engaging: He fares less well, though, when the story takes a dark turn.
Director Andrew Jarecki, who made his name with the documentary Capturing the Friedmans, is less successful at limning family dysfunctionality in the fictional mode.
It also feels like one man's attempt to try another in the court of cinema, or perhaps correct the course of justice itself.
| Original Score: 2.5/4
The unsolved crime turns out to be less mysterious than the mind of the killer, nervily portrayed by Gosling as not evil but unaccountably empty.
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.
| Original Score: 3.5/4
"All Good Things" has the eerie power of a nightmare.
As excellent as Gosling is - and the actor conveys the stillness of the man as well as the voices screaming in his head - Dunst matches him stride for stride.
It's a strange, thrilling tale begrimed by bad memories, by bad deeds.
Dunst is not the only person doing quality work in "All Good Things," but she is the only one worth watching.
You watch it wanting to scurry off to read accounts of the real thing, rather than being caught up in the filmmaking.
As absorbing and detailed as "All Good Things" is, it never manages to levitate beyond tawdry movie-of-the-week voyeurism.
The script draws insistently obvious psychological connections.
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.
| Original Score: 2.5/5
There's plenty of information on what (might have) happened, but not much thought given to why.
| Original Score: 4.2/10
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.
| Original Score: 3/5
Jarecki, the wealthy co-founder of Moviefone who directed the acclaimed documentary "Capturing the Friedmans," here presents another memorable portrait of a dysfunctional family over three decades.
The film ends up wrestling itself into a corner, though it's saved by a corrosive central performance from Ryan Gosling and a disconcertingly hypnotic feel.
| Original Score: 3.5/5
Although the movie posits a solution to an infamous missing person's case, it does so in a manner that is less than satisfying.
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.
This feverishly creepy but dramatically miscalculated picture reps an unhappy marriage of murky psychodrama and dubious theorizing.
What we have here is a somewhat higher grade of a Lifetime true-crime picture.
You go away slack-jawed with shock and sated with the chilling bedtime-story elements of a great unsolved mystery novel you can't put down.
It's a juicy story, though that doesn't excuse Jarecki from fixating above all else on the tabloid-ready twists and pop-psychological turns of Durst's story.
The case-history script is ever on-message, but Jarecki ignores the little details that create a credible social reality.
All Good Things is thoroughly engrossing, a roman a clef that chillingly ponders a puzzle and suggests solutions outlandish enough to be stranger than anything Hollywood, on its own, could make up.
An unsettling psychological thriller centered on three riveting performances.
The movie never jells.