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。。。

    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

帅到无以复加的高司令 庞大到纽约市半个中心街区的家族势力 7岁时候摸着跳楼母亲的额头 当他真正想要脱离家族生活的时候 父亲的：漂亮女人值得拥有更好的生活 将他拖回与现实的责任 面对违逆自我的选择时 好像只有K才能才他入睡 可K也是一位有着大家庭的医学院毕业的研究生 D玻璃心无法接受分享心爱之物 K终成玩物死爱犬之后 对我来说 后面的故事发展与案件处理我更在乎的是K死了之后K的状态 也许就像7岁直到遇见水管漏了的D一样 迟到的生活 苟且的日常 故事最后 纵使三宗命案缠身 百万身家也能让你安全脱身

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

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."

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。’