By Amy Nicholson
By Stephanie Zacharek
By Calum Marsh
By Stephanie Zacharek
By Inkoo Kang
By Voice Film Critics
By Alan Scherstuhl
By Alan Scherstuhl
Generously bankrolled (then shelved) by an imperiled Weinstein Company and peopled with Oscar® nominees, its tempting to call All Good Things an upscale version of straight-to-cable True Crime craponly that makes it sound more entertaining than it actually is.
The fiction feature debut of Andrew Jarecki, director of 2003s documentary Capturing the Friedmans, All Good Things likewise concerns dark secrets among the Levites of greater New York, reopening the case of Robert Bobby Durst: eldest son, estranged heir, and pothead black sheep of a real estate dynasty with Manhattan holdings to rival NYU and the Archdiocese. Too unstable to properly broker power, Durst re-emerged into the public eye in 2000, when the unsolved 1982 disappearance of his wife was reopened for investigation. Shortly afterward, he was sought in connection with a Texas mans dismembered body. Subsequent trials revealed a personal history winding along a trail of crime scenes and the accuseds penchant for cross-dressing disguises, sending the New York Posts headline punsters into new heights of eloquence.
Ryan Gosling plays an inspired by Durst substitute, David Marks. This symbolic, names-have-been-changed distancing by Jarecki and screenwriters Marcus Hinchey and Marc Smerling, and the discrepancies of existing testimonies, give the filmmakers the freedom to indulge in speculation as to why and how people close to Bobby Durstsorry, David Markskeep disappearing and dying. Marks narrates the flashback film, reciting his autobiography from the stand at a 2003 trial in Galveston. This corner-cutting device for establishing characteraided sometimes by montages of home movies tinged in dying golden lightlays out All Good Things timeline treatment, flipping back over the 30 years of Markss life leading up to the courtroom.
The majority of screentime is devoted to Markss courtship of future wife Katie (Kirsten Dunst), and then their slowly disintegrating domestic situation. He is introduced at his most hangdog-affable, meeting-cute the middle-class gal from Mineola, one of his familys tenants. Shes not from our world, Marks patriarch Sanford (Frank Langella) sniffs, dropping what the movie wants us to know in on-the-nose dialogue, not through any astute observation in the meet-the-parents scenes.
The case-history script is ever on-message, but Jarecki ignores the little details that create a credible social reality. The rich are different from you and me in that they wear tennis whites and live in porticoed houses. They also indulge in (unconvincing) backroom dealmaking. The late Senator Moynihan pops up, odd exception to the alias-protection program; the Mayor is some sort of Lindsay-Koch fusion; Westchester County D.A. Jeanine Pirro becomes Janet Rizzo, played by Diane Venora as a broad caricature of venal ambition, high heels propped on desk, noshing candy. This is one of the rare moments where the movie is at least enjoyably tabloid-trashysee also Jareckis clod-hopping exercises in symbolic cross-cutting, like Marks preparing to swat a fly while a killing is done at his behest.
Discount analysis is in session throughout. As a boy, Marks witnessed the suicide of his mother. As a man, finding his wifes letter of acceptance to medical school, her gateway to an independent career, he impulsively splashes into the water by their summer house and hauls their boat ashore: It was drifting away. I didnt want anybody to steal it. The films title comes from the name of the organic grocery store operated by Mr. and Mrs. Durst/Marks at the beginning of their marriagea lost hippie Eden, or Rosebudbefore Marks is bullied back into the family business to do its dirty work, putting onus for his crimes on the whole rotten system into which he was born.
Gosling communicates Markss interior inferno through his usual code of sharp blinks. With a clammy, dim Durst impersonation, the actor succeeds again in making himself bravely unappealing, if not interestingenough probably to perpetuate the unfounded Next Great Actor rumor. Also good advertising: All Good Things patina of fictionalization has not prevented the cagey Durst Organization from threatening a lawsuit. They need not worry, though. The film succeeds only in indicting its authors.
Join My Voice Nation for free stuff, film info & more!