All Good Things (2010)

All Good Things is the kind of true-crime thriller that doesn’t just chase the mystery; it sinks into the uneasy spaces where love, power, and denial quietly rot from the inside out. Andrew Jarecki builds a chilly, hypnotic atmosphere around two terrific performances—Ryan Gosling as a privileged man unraveling in plain sight, and Kirsten Dunst as the woman trying to hold onto a future that keeps slipping away—so every scene feels intimate and faintly dangerous. The film’s romance isn’t there to soften the edges; it’s the blade, turning a real-life inspired story into a psychological portrait that lingers long after the credits. It’s not for viewers who want clean answers or a conventional whodunit, but if you like your thrillers smart, unsettling, and acted to the bone, this one is hard to shake.

All Good Things wants to be a classy, true-crime-tinged romance that slowly curdles into a murder mystery, and you can feel the ambition in its chilly mood and period detail. The catch is that it leans hard on speculation and ambiguity, so if you’re looking for clear answers, catharsis, or a tightly engineered thriller, it may leave you frustrated and emotionally shut out. The storytelling can feel oddly inert for such sensational material, with familiar beats and a deliberately detached tone that keeps the drama at arm’s length. Still, Gosling and Dunst are strong, and if you like slow-burn, unsettling character studies that sit in uncertainty rather than resolve it, this might be your kind of discomfort.