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更新时间：2023-08-16 04:18
详细剧情
影片根据纽约历史上最声名狼藉的谋杀悬案改编。
1973年纽约地产富豪的儿子Robert Durst（瑞恩·高斯林 Ryan Gosling 饰）娶了美丽的穷学生Kathleen McCormack（克斯汀·邓斯特 Kirsten Dunst 饰）。两人婚后离开 城市，到乡村享受了一段恬静的时光，当返程时卡蒂回到了学校继续学业。一切看似幸福，可1982年Kathleen突然失踪寻访不得。2000年Durst的好友Susan Berman被发现死在家中，20年前的失踪案被重新唤起，Durst因这两个案件受到询问，但都因为证据不足而未受起诉。2001年Durst的邻居Morris Black被杀，尸体被分解，他再一次受到怀疑被起诉，可经著名律师辩护后被无罪释放。直到2004年再次接受审判Durst最终被判5年监禁，媒体将"百万富翁凶手"的名号赠予他。
长篇影评
1 ) 你没有等到最好的我
这部电影主线比较明晰，所有的线索都指向David，一个看不清其真面目的丈夫，一个没有安全感的孩子。
100分钟，对我来说仿佛很漫长。影片开始的轻松气氛很快就被阴霾笼罩，Catherine和David一开始清淡而甜蜜生活很快被David的父亲打断，他们向现实屈服的同时，也就宣告了悲剧的开始。
David是一个在人格方面存在严重隐患的人，在镜头中，他温文尔雅的外表下，时不时可以瞥到一丝疑惑，稍纵即逝的凶光，他的阴影来自童年母亲的坠楼身亡，他其实不相信爱情，不相信家庭。他的世界是夜空下的森林，那里黑暗无序，只能通过对自己，对他人的残忍来自我拯救。
Catherine作为David的妻子则完全是另一个极端，她出身平民，却乐天达观，对未来的憧憬驱使她和外表看起来完全正常的David走在一起。一开始的生活似乎也很美好，虽然不够富足，却可以将两人的甜蜜小世界一直支撑下去。直到他们返回纽约，David开始帮助家族生意，Catherine才慢慢变得无所适从，她的疑惑日益增长，其实，她不了解她深爱的丈夫。这一点，直到他要求她流掉肚子里孩子的那一天，她才幡然醒悟：“我爱的那个他已经不见了。”
婚姻生活是需要两人为之努力，才能得以维持的。而他们逐渐彼此猜疑，丈夫逐渐不能容忍妻子一贯来的“自由”行径，妻子对丈夫的恐惧则在一天天膨胀变形。
影片的论调指向David，虽然没有直接的镜头展示，导演却已经很明白地告诉了大家：David杀死了Catherine，并没有留下证据。David身上那种强烈的自我失落，占有欲，讨厌所谓的美好事物的本性，在那个雨夜全都发泄了出来。我们看到小狗Ivan的那条带血的围脖，便已知David决心已定，被哄骗回来的Catherine注定难逃一死。
我不想就David这些不能理解的行径发表过多的言论，我只注意到了一个镜头：他们在乡下开的那家小杂货铺【All Good Things】便代表了一切，不管对于David亦或是Catherine，那都是生命中最美好的归宿。他们在那里相爱着，灵魂彼此紧贴，就连时间都要踟蹰是否要驻足观望这美好的一对儿。可惜时间没有停下，他们走向末路。
把握眼前的美好，并努力维护着它。它细小，易碎，一个波折就可能会消失。所以才更值得我们去细心呵护，而不是一边渴望它，一边摧残它。
100分钟，对我来说仿佛很漫长。影片开始的轻松气氛很快就被阴霾笼罩，Catherine和David一开始清淡而甜蜜生活很快被David的父亲打断，他们向现实屈服的同时，也就宣告了悲剧的开始。
David是一个在人格方面存在严重隐患的人，在镜头中，他温文尔雅的外表下，时不时可以瞥到一丝疑惑，稍纵即逝的凶光，他的阴影来自童年母亲的坠楼身亡，他其实不相信爱情，不相信家庭。他的世界是夜空下的森林，那里黑暗无序，只能通过对自己，对他人的残忍来自我拯救。
Catherine作为David的妻子则完全是另一个极端，她出身平民，却乐天达观，对未来的憧憬驱使她和外表看起来完全正常的David走在一起。一开始的生活似乎也很美好，虽然不够富足，却可以将两人的甜蜜小世界一直支撑下去。直到他们返回纽约，David开始帮助家族生意，Catherine才慢慢变得无所适从，她的疑惑日益增长，其实，她不了解她深爱的丈夫。这一点，直到他要求她流掉肚子里孩子的那一天，她才幡然醒悟：“我爱的那个他已经不见了。”
婚姻生活是需要两人为之努力，才能得以维持的。而他们逐渐彼此猜疑，丈夫逐渐不能容忍妻子一贯来的“自由”行径，妻子对丈夫的恐惧则在一天天膨胀变形。
影片的论调指向David，虽然没有直接的镜头展示，导演却已经很明白地告诉了大家：David杀死了Catherine，并没有留下证据。David身上那种强烈的自我失落，占有欲，讨厌所谓的美好事物的本性，在那个雨夜全都发泄了出来。我们看到小狗Ivan的那条带血的围脖，便已知David决心已定，被哄骗回来的Catherine注定难逃一死。
我不想就David这些不能理解的行径发表过多的言论，我只注意到了一个镜头：他们在乡下开的那家小杂货铺【All Good Things】便代表了一切，不管对于David亦或是Catherine，那都是生命中最美好的归宿。他们在那里相爱着，灵魂彼此紧贴，就连时间都要踟蹰是否要驻足观望这美好的一对儿。可惜时间没有停下，他们走向末路。
把握眼前的美好，并努力维护着它。它细小，易碎，一个波折就可能会消失。所以才更值得我们去细心呵护，而不是一边渴望它，一边摧残它。
2 ) 你的爱如同罂粟
一开始的阴郁风格的画面一出现，就猜到片名是反其道而行的，美好的片名只是为了衬托脆弱的美好或者说是美好的外衣下掩藏的阴暗潮湿的心。
在猜想如果David从最开始选择和Kathleen住在乡间，开着那间名叫ALL GOOD THING 的健康食品店，那么结局会不会相反，会不会一直是那样。仔细一想，本质还是不会变的，无论David在哪里，做着什么样的的事情，遇见什么样的人，他还是那个心里藏着魔鬼的男人，会毁灭一切柔软美好的男人。
其实他自己的心里亦是不好受的吧，他爱着Katie，却爱得那么霸道以至于开始变的畸形。冰冷的童年，现实的家庭，无爱的少年，注定了不懂得怎样去爱，怎样的爱才不会伤害到自己爱的人。
故事刚开始的美好，会让每个人沉溺，Katie柔软温暖的微笑，纯净清澈的亲吻，乡间不经意的小花朵，近乎完美。
可是残酷的生活不会留一点喘息的机会，短暂的美好之后，故事一直持续着冷色调的讲述。欺骗，心照不宣，暴力，眼泪，绝望，哀求，死亡。。。各种阴冷。各种残忍。
你的爱如同罂粟，爱上你艳丽的外表的同时，却不知已中了你致命的毒。。。
在猜想如果David从最开始选择和Kathleen住在乡间，开着那间名叫ALL GOOD THING 的健康食品店，那么结局会不会相反，会不会一直是那样。仔细一想，本质还是不会变的，无论David在哪里，做着什么样的的事情，遇见什么样的人，他还是那个心里藏着魔鬼的男人，会毁灭一切柔软美好的男人。
其实他自己的心里亦是不好受的吧，他爱着Katie，却爱得那么霸道以至于开始变的畸形。冰冷的童年，现实的家庭，无爱的少年，注定了不懂得怎样去爱，怎样的爱才不会伤害到自己爱的人。
故事刚开始的美好，会让每个人沉溺，Katie柔软温暖的微笑，纯净清澈的亲吻，乡间不经意的小花朵，近乎完美。
可是残酷的生活不会留一点喘息的机会，短暂的美好之后，故事一直持续着冷色调的讲述。欺骗，心照不宣，暴力，眼泪，绝望，哀求，死亡。。。各种阴冷。各种残忍。
你的爱如同罂粟，爱上你艳丽的外表的同时，却不知已中了你致命的毒。。。
3 ) 美好，不好，一切都还在
不明白这究竟是为什么，或许是电影与想象中的相比太过不美好，或许是我还年轻，或许是自己深深的迷失在了这算不上惊悚也算不上悬疑的片子里，或许还有许许多多的理由，有许许多多的不解。或许……抱歉，我不知道我到底在说些什么……
剧情就不说了，看了自然明白，不看也没有什么可惜而言……
因为看了《蓝色情人节》，一个在我心里彻头彻尾的悲剧，喜欢瑞恩高斯林的沉默与厚重。因为看了《夜访吸血鬼》惊叹于邓斯特的表演张力与其年轻的脸上自然流露的沧桑。坦白说，看这部片子，主要原因也就是这两位主演了罢。
All good things都会因为记忆亦或是期待而消失，我哀叹年轻、美丽和爱的流逝，沉默于罪恶的脱逃。只是，那些曾经的阳光与微笑依然会荡漾你我的心房。如果你想思索，如果你想尝试，看过影片，就将那些值得记忆的美好可在脑海里吧！
总之，心有爱，美好，不好，一切都还会存在
剧情就不说了，看了自然明白，不看也没有什么可惜而言……
因为看了《蓝色情人节》，一个在我心里彻头彻尾的悲剧，喜欢瑞恩高斯林的沉默与厚重。因为看了《夜访吸血鬼》惊叹于邓斯特的表演张力与其年轻的脸上自然流露的沧桑。坦白说，看这部片子，主要原因也就是这两位主演了罢。
All good things都会因为记忆亦或是期待而消失，我哀叹年轻、美丽和爱的流逝，沉默于罪恶的脱逃。只是，那些曾经的阳光与微笑依然会荡漾你我的心房。如果你想思索，如果你想尝试，看过影片，就将那些值得记忆的美好可在脑海里吧！
总之，心有爱，美好，不好，一切都还会存在
4 ) Robert Durst All Good Things DVD Commentary
On the scene in the opening credits when a young Durst shoots a toy gun at his mom:
"I did like guns when I was a little kid, I remember that."
On meeting Kathie’s family:
"That is one of the major regrets in my life, is the way I treated her family, her mother. They’d never met anything like me before, this guy with piles of money and terrible manners. I used to feed the dog while I was sitting at the table. I used to talk about making love to Kathie at the dining-room table in front of her mother. [I was] absolutely impossible."
On why Kathie’s family paid for the wedding, despite the Dursts’ enormous wealth:
"The bride’s family pays for the wedding."
On his shock that Kathie was accepted to the Albert Einstein School of Medicine:
"I just didn’t think she would be accepted. I thought that if she was accepted to medical school, it would be one of the lesser-rated schools. My shock was somewhat tempered … [since] the reason she got accepted at Albert Einstein was because my grandfather was a founder of Albert Einstein."
On his refusal to help pay for Kathie’s school, and the cancellation of her credit cards:
"I was always, always, always very controlling. In terms of the stuff that’s out there — that I tried to get her out of medical school, that I wouldn’t pay her tuition — I wouldn’t pay her tuition because she’d hired lawyers, my lawyer insisted that I don't pay for anything that I hadn’t paid for in the past, and she’d gone and done one of those federal programs where they pay for it and you take a loan. The lawyer said, 'Don’t pay for the medical school.'"
"Yes, I cancelled her credit card and took her off the bank account, but she had her own bank account and I didn’t want her on mine, or I guess I was told that she shouldn’t be on [my] credit card — she could get her own credit cards."
"She never filed for divorce. She wanted a child, to have children, and she wanted me to not always be the dominant one, to not always make all the decisions in the marriage."
On the scene where Gosling’s character storms into Dunst’s graduation party and pulls her out by her hair:
"This is close. After a number of years, before, where we would go to her family’s house for a function, I would insist that we agree on how long we are going to stay: two hours, three hours, four hours. We would always do a negotiation, and when the time was up, I was ready to leave."
"I’ve seen the story about the hair two different ways. One way, I drag her out of the house by her hair; the other way, I grab her hair and a big chunk comes out. Either way is close enough."
On the scene in which Dunst’s character seeks refuge in a neighbor’s apartment in the midst of a fight with Gosling’s character:
Durst: This is more or less accurate. I don’t know why she would go in our neighbor’s window as opposed to go to their door. But it was pouring, and we were having a wrestling, shoving-type fight, and she ran out on the terrace and ran into their apartment. Said she was afraid to come home. [I] said, "She doesn’t want to come home, she doesn’t have to come home."
Jarecki: Did you feel like she was really afraid to come home?
Durst: I’ve got no idea. I didn’t really care one way or another what she did. It was late and I was just tired."
On the part where Dunst’s character discovers Gosling’s character killed Igor, the family dog:
Durst: This made me feel bad about the movie, Andrew. I mean, the idea that I could kill Igor, I don’t like.
Jarecki: Well, there was a lot of discussion about you having had a lot of dogs over the years, a bunch of [which] were named Igor. Someone said to us at one point that you had seven dogs over ten years or something."
Durst: No. We had two Igors before the Igor that lasted forever. One of them got run over, and one of them, when he was a puppy, went out and … ate an apple core. The apple core got stuck in his gut. We did an operation on him, and he died.
On his relationship with Morris Black:
Durst: [In Galveston, I] didn’t know anybody there to begin with, and when I left, I didn’t know anybody but Morris Black. And we were both loners and had some strange things in common and didn’t do much. There’s not that much to do in Galveston, anyway, but whatever it was, we did it. Went to some movies. Saw Traffic.
Jarecki: The movie Traffic?
Durst: Yes, the movie Traffic.
Jarecki: You didn’t just sit and watch traffic.
Durst: [Laughing] There wasn’t even much traffic in Galveston.
On Morris Black’s death and dismemberment:
"I remember it very, very, very clearly, and I remember the nightmare I went through over the next several days trying to decide what to do, deciding I could not go to the police, the police aren’t going to believe this, nobody’s going to believe that I came down here to Galveston a rich guy, rented a $300-a-month apartment disguised as a woman, and oh, by the way, my neighbor is lying in my kitchen with a shot in the face from my gun …"
"They never found the head. I have no idea why. I do know that there must have been 15 garbage bags full of body parts and other stuff with blood on it or whatever, and they found 12. Why they didn’t find the other ones, since they were all dumped in the same place, I have no idea."
"I did like guns when I was a little kid, I remember that."
On meeting Kathie’s family:
"That is one of the major regrets in my life, is the way I treated her family, her mother. They’d never met anything like me before, this guy with piles of money and terrible manners. I used to feed the dog while I was sitting at the table. I used to talk about making love to Kathie at the dining-room table in front of her mother. [I was] absolutely impossible."
On why Kathie’s family paid for the wedding, despite the Dursts’ enormous wealth:
"The bride’s family pays for the wedding."
On his shock that Kathie was accepted to the Albert Einstein School of Medicine:
"I just didn’t think she would be accepted. I thought that if she was accepted to medical school, it would be one of the lesser-rated schools. My shock was somewhat tempered … [since] the reason she got accepted at Albert Einstein was because my grandfather was a founder of Albert Einstein."
On his refusal to help pay for Kathie’s school, and the cancellation of her credit cards:
"I was always, always, always very controlling. In terms of the stuff that’s out there — that I tried to get her out of medical school, that I wouldn’t pay her tuition — I wouldn’t pay her tuition because she’d hired lawyers, my lawyer insisted that I don't pay for anything that I hadn’t paid for in the past, and she’d gone and done one of those federal programs where they pay for it and you take a loan. The lawyer said, 'Don’t pay for the medical school.'"
"Yes, I cancelled her credit card and took her off the bank account, but she had her own bank account and I didn’t want her on mine, or I guess I was told that she shouldn’t be on [my] credit card — she could get her own credit cards."
"She never filed for divorce. She wanted a child, to have children, and she wanted me to not always be the dominant one, to not always make all the decisions in the marriage."
On the scene where Gosling’s character storms into Dunst’s graduation party and pulls her out by her hair:
"This is close. After a number of years, before, where we would go to her family’s house for a function, I would insist that we agree on how long we are going to stay: two hours, three hours, four hours. We would always do a negotiation, and when the time was up, I was ready to leave."
"I’ve seen the story about the hair two different ways. One way, I drag her out of the house by her hair; the other way, I grab her hair and a big chunk comes out. Either way is close enough."
On the scene in which Dunst’s character seeks refuge in a neighbor’s apartment in the midst of a fight with Gosling’s character:
Durst: This is more or less accurate. I don’t know why she would go in our neighbor’s window as opposed to go to their door. But it was pouring, and we were having a wrestling, shoving-type fight, and she ran out on the terrace and ran into their apartment. Said she was afraid to come home. [I] said, "She doesn’t want to come home, she doesn’t have to come home."
Jarecki: Did you feel like she was really afraid to come home?
Durst: I’ve got no idea. I didn’t really care one way or another what she did. It was late and I was just tired."
On the part where Dunst’s character discovers Gosling’s character killed Igor, the family dog:
Durst: This made me feel bad about the movie, Andrew. I mean, the idea that I could kill Igor, I don’t like.
Jarecki: Well, there was a lot of discussion about you having had a lot of dogs over the years, a bunch of [which] were named Igor. Someone said to us at one point that you had seven dogs over ten years or something."
Durst: No. We had two Igors before the Igor that lasted forever. One of them got run over, and one of them, when he was a puppy, went out and … ate an apple core. The apple core got stuck in his gut. We did an operation on him, and he died.
On his relationship with Morris Black:
Durst: [In Galveston, I] didn’t know anybody there to begin with, and when I left, I didn’t know anybody but Morris Black. And we were both loners and had some strange things in common and didn’t do much. There’s not that much to do in Galveston, anyway, but whatever it was, we did it. Went to some movies. Saw Traffic.
Jarecki: The movie Traffic?
Durst: Yes, the movie Traffic.
Jarecki: You didn’t just sit and watch traffic.
Durst: [Laughing] There wasn’t even much traffic in Galveston.
On Morris Black’s death and dismemberment:
"I remember it very, very, very clearly, and I remember the nightmare I went through over the next several days trying to decide what to do, deciding I could not go to the police, the police aren’t going to believe this, nobody’s going to believe that I came down here to Galveston a rich guy, rented a $300-a-month apartment disguised as a woman, and oh, by the way, my neighbor is lying in my kitchen with a shot in the face from my gun …"
"They never found the head. I have no idea why. I do know that there must have been 15 garbage bags full of body parts and other stuff with blood on it or whatever, and they found 12. Why they didn’t find the other ones, since they were all dumped in the same place, I have no idea."
5 ) All Good Things
不错的题材，可惜不够连贯，也不知道导演想表现什么。镜头中Kirsten Dunst美极了。Ryan Gosling 演得不错，中年造型化妆上有点假。
"All Good Things throws so many narrative balls in the air that you may struggle to catch up."
(Peter Travers from "Rolling Stone")
"...when it comes to a feature film, leaving an audience with an incomplete feeling is not always the best approach."
(James Berardinelli from "Reelviews")
"...the screenplay seems to be fighting against the reality that some stories may not be suited for the movie treatment."
(Jason McKiernan from Filmcritic.com)
Verdict: 7 out of 10
"All Good Things throws so many narrative balls in the air that you may struggle to catch up."
(Peter Travers from "Rolling Stone")
"...when it comes to a feature film, leaving an audience with an incomplete feeling is not always the best approach."
(James Berardinelli from "Reelviews")
"...the screenplay seems to be fighting against the reality that some stories may not be suited for the movie treatment."
(Jason McKiernan from Filmcritic.com)
Verdict: 7 out of 10
6 ) 谁没有过一两个童年阴影
跟朋友谈起来，好像工薪族养大的小孩，都或多或少有些跟家庭相关的童年阴影。
比如很小的时候父母过世，或者父母大战八百回合摔掉家里所有锅碗瓢勺然后离异，或者父母一方是个有恶习的asshole，再或者父母本身就有些性格问题或者family issue。更或者，很小的事情都会成为童年阴影的来源。
看多了犯罪片，赫然发现我们都有成为连环杀手的潜质。
电影里的男主这辈子最被人对不起的事，就是眼睁睁看着老妈坠楼身亡。这打击当然巨大，但他之后的生活也算平静幸福。从小到大作为继承人脱线多次，老爹也并没有逼他或者放弃他。妻子Katie和她的家人也全心全意地接纳了他。中间虽然摩擦磕碰不断，她最后还是回了他的家。
所以他为什么就成了杀人凶手呢？而且杀掉的总是爱他的人。
所以这部片第一点绝对是单身女青年的噩梦。蜜月的男主是个多么正常的小伙子啊，更何况从常理讲，大把票子养大的小朋友不都应该无忧无虑开朗向上么？连这种人都有这样那样心理阴影，其他摸爬滚打一路挫折长大的人岂不是更阴湿发霉心理变态？所以结婚神马的要找谁？？？？
第二点是已婚有娃的妇女的噩梦。娃真的好难养哦，稍有不慎就会造成童年阴影或者性格扭曲。从小百依百顺，某一次不给钱了小孩就抡刀砍父母的有，从小严加管教严格规范，某此吵架时小孩抄斧子削父母的有，无缘无故，稍微有点不顺心就砍父母的也有。
我之前曾经有想过念发展心理学的最后放弃了，翻了几本书之后发现养娃真的需谨慎。小孩是个危险品。
或许人总是对自己爱的人和事物要求过高。如果男朋友或者父母不理解自己想法或者忽略自己感受，就会万箭钻心“你怎么会不理解我呢，别人可以，但是是你啊！”衍伸到“搞了半天是我一头犯贱，那好今后我也用你对我的方式对你，我们两不相欠。”
反而忘了最简单的一个道理：人毕竟都是孤独的，人是不可能完全理解另外一个人的。
因为总会有一段人生他们未曾参与。
所以不如打开天窗。坦率几分，告诉他们，‘我一直都很爱你们’，‘请你们不要猜测我，我在想什么，我会好好告诉你，所以请你也告诉我。’
比如很小的时候父母过世，或者父母大战八百回合摔掉家里所有锅碗瓢勺然后离异，或者父母一方是个有恶习的asshole，再或者父母本身就有些性格问题或者family issue。更或者，很小的事情都会成为童年阴影的来源。
看多了犯罪片，赫然发现我们都有成为连环杀手的潜质。
电影里的男主这辈子最被人对不起的事，就是眼睁睁看着老妈坠楼身亡。这打击当然巨大，但他之后的生活也算平静幸福。从小到大作为继承人脱线多次，老爹也并没有逼他或者放弃他。妻子Katie和她的家人也全心全意地接纳了他。中间虽然摩擦磕碰不断，她最后还是回了他的家。
所以他为什么就成了杀人凶手呢？而且杀掉的总是爱他的人。
所以这部片第一点绝对是单身女青年的噩梦。蜜月的男主是个多么正常的小伙子啊，更何况从常理讲，大把票子养大的小朋友不都应该无忧无虑开朗向上么？连这种人都有这样那样心理阴影，其他摸爬滚打一路挫折长大的人岂不是更阴湿发霉心理变态？所以结婚神马的要找谁？？？？
第二点是已婚有娃的妇女的噩梦。娃真的好难养哦，稍有不慎就会造成童年阴影或者性格扭曲。从小百依百顺，某一次不给钱了小孩就抡刀砍父母的有，从小严加管教严格规范，某此吵架时小孩抄斧子削父母的有，无缘无故，稍微有点不顺心就砍父母的也有。
我之前曾经有想过念发展心理学的最后放弃了，翻了几本书之后发现养娃真的需谨慎。小孩是个危险品。
或许人总是对自己爱的人和事物要求过高。如果男朋友或者父母不理解自己想法或者忽略自己感受，就会万箭钻心“你怎么会不理解我呢，别人可以，但是是你啊！”衍伸到“搞了半天是我一头犯贱，那好今后我也用你对我的方式对你，我们两不相欠。”
反而忘了最简单的一个道理：人毕竟都是孤独的，人是不可能完全理解另外一个人的。
因为总会有一段人生他们未曾参与。
所以不如打开天窗。坦率几分，告诉他们，‘我一直都很爱你们’，‘请你们不要猜测我，我在想什么，我会好好告诉你，所以请你也告诉我。’
刚看完这部《所有美好的东西》，属于剧情惊悚电影，电影名字和剧情是相反的，所有美好的东西其实一瞬间就化作不美好，是对现实的讽刺，影片根据纽约历史上最声名狼藉的谋杀悬案改编，上流社会的人是不是都容易得精神分裂症？kristen dunst的复出，带给这部戏很大惊喜，将一个可喜可悲的妻
All Bad Things are All good Things.
没有评分那么糟，故事还是讲完整了，画面和音乐还是配合上了，演员还是到位了。真的，没那么糟。
配乐很不错，后段元素太多，叙事稍稍有些不集中。
这个世界最易碎的就是男人的酒杯，政客的承诺，少女的梦想，钢丝上的爱情，现代社会的善良和高贵的心。
all good things
I miss her so much
纽约史上最声名狼藉的谋杀悬案被拍成了这幅模样真是暴殄天物啊，如此有料的故事却被导演东拉西扯，叙事平庸且苍白，前中后三个部分完全脱节。好在有Ryan可以看...
高斯林太棒了，在小成本和独立制作里一路发飙
一般。。
也就看看男女主角的演技吧。
真实事件改编无法杜撰过多的臆想情节 导演不温不火的讲故事想把道德审判也搞得掩人耳目
x
如果这部电影拍成纪录片的话肯定更牛逼！导演故事讲的不错，只是很难搞清楚他想表达点啥，没有道德立场，不评断角色，只有那些纪录片式的镜头摆在那里，虽说它依旧震撼了你，但也限制了影片主题的深层次挖掘。就好比它只告诉你事件本身，至于你得到了什么启发和思考，那就是你的事了。★★★☆
单纯叙事比起Zodiac是好看一些的..高司令的演技好到可怕
嫁错了连命都要搭上
就是對金牛座的女星不感冒 / "You said you don't want a kid, is it not now or not ever?" "Forever." "Is there something wrong with you?" 痴乜線啊
纽约历史上最声名狼藉的谋杀悬案外加一批好演员，这么好的一个本子居然被拍成这个样子，三个段落脱节厉害，故事拖沓，故弄玄虚，情节也自然被削弱很多。我想如果要是导演换成大卫·芬奇会不会变成经典？★★★
凶手到了Florida，大家要小心哟
所有美好的东西就是犯下的罪恶都不用偿还。