All Good Things , Andrew Jarecki’s feature follow-up to his dark family scrapbook Capturing the Friedmans , has got a whopper story, two magnetic leads, and a killer case of the directorial bends. Where Friedmans , a documentary, derived athletic momentum from its balance of gold mine material and Jarecki’s skillful dedication to ambiguity, All Good Things seems to cast around inside its story of a rebel heir and the bluebloody tragedy his life becomes. It tries on this angle and that tempo, but never finds a confident design for its content or its characters. I want to say it’s the kind of thing a director can miss by a millimeter, but Jarecki’s telling of the Robert Durst story flails too far off course, too often, to retain the viewer’s good faith.
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REVIEW: True Love (and Good Filmmaking) Goes Awry in All Good Things
