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All Good Things Comes to an End for the Weinsteins

Posted by Eric Lavallee on Mar 11, 2010
Source: L.A Times

I remember thinking how odd it was when the Weinsteins purchased Derek Cianfrance's Blue Valentine at Sundance. They would now have not one, but two Ryan Gosling films to release this year. If you're a regular reader of the site, then you know that we've been anticipating the release of Andrew Jarecki's All Good Things for a long time now, and the end-product has suffered tremendously because of the Weinsteins' financial woes.

Thanks to ThePlaylist for pointing out to this article, which basically says that Jarecki is one more filmmaker that received a shaft but didn't get totally shafted - the filmmaker has bought back the domestic rights to the film and is shopping them around to other distributors which means we could find ourselves in a Gosling vs. Gosling situation in the Fall. Great news for cinephiles, but perhaps more difficult for whoever the Weinstein Co. will face off with the eventual releases of both films.  

Written by Marcus Hinchey, Marc Smerling and Jarecki, this unlocks the mystery of a unique man who could have had it all. Set against the extravagance and excess of New York City in the 80s, David Marks (Gosling), the son of a powerful real estate tycoon marries a beautiful working class student, Katie (Dunst). Together they flee the city for idyllic country life in Vermont - only to be lured back by David’s father. Upon their return, Katie goes back to medical school and begins to make a life for herself. But as Katie becomes increasingly independent, David mysteriously turns more violent and controlling. Family secrets are slowly revealed, just as Katie disappears without a trace. Years later, when Katie’s best friend turns up dead, a struggling cop and eager reporter team together to reopen the unsolved case. With David the main suspect, the Marks family’s dark secrets pave the way to a disturbing truth.



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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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Review: Wrong

"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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