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Home » dir » David Marx Florida Real

All Good Things (2010)

ALL THINGS GOOD is a polished little film based on a true story that while it may not have the visual gruesome detail of the usual thriller tropes of films, it is terrifying in its presentation of personality variations that produce a shuddering reaction on a purely intellectual level for the audience. It is both a love story and a missing persons/murder mystery based on a still unsolved case that continues to haunt New York investigators and reporters and detectives.

What writers Marcus Hinchey and Marc Smerling have created from known and newly discovered facts, speculation and court records results in a psychological examination of a powerful New York family, obsession, love and loss. The film relates incidents that began in 1972 and end in 2003 and at this time the truth is still unknown. Director Andrew Jarecki uses a superb cast and a fine sense of voice-over narration to interweave the puzzling history with the gradual dissolution of each of the characters involved.

Sanford Marks (Frank Langella) is one of the wealthiest owners of Manhattan real estate, the current head of a family that has long dominated the New York scene with its power and money. Marks is aging and is relying on his son David (Ryan Gosling) to take over the family business: he sends David out to the brothels, and filthy hotels and porn houses to collect rent. David is reticent to be a part of his father’s business: he is a deeply disturbed young man, having witnessed his mother’s suicide leap as a child. David meets a tenant in one of the properties – Katie McCarthy (Kirsten Dunst) who longs to go to medical school but at present has no income to support that dream. The chemistry between the two is magnetic and despite David’s father’s objection that Katie is not of ‘their kind of people’, David decides to marry Katie and move to Vermont to open a Health Foods store – a move that makes the couple ecstatic, but is financed by Sanford Marks who eventually convinces David to sell his haven and move to New York to stay with the family business.

In their Manhattan home (and in their country lake front home!) the couple flourishes until Katie mentions she’d like to have children – a force that drives David back into violent behavior resulting form his witnessing his mother’s suicide: David can’t understand why Katie would want anything but the obvious life of wealth they enjoy. The shell is cracked and the subsequent events include Katie becoming pregnant only to be forced by David to terminate the pregnancy, Katie’s disappearance after uncovering the facts about the sources of wealth of the family, David’s descent into drugs and irresponsible behavior, and ultimately his leaving New York for Galveston, Texas where he lives a life disguised as a woman, his only friend being another old runaway Melvin Bump (Philip Baker Hall) who David engages to do away with a ‘problem confidant’ (Lilly Rabe), after which Bump is killed and dissected and tossed into the river. The murders are never solved nor is the mystery of Katie’ disappearance. A trial (the source of the voice-over throughout the film has been the lawyer’s interrogation of David in the year 2003) fails to resolve anything and the film ends with the message that David Marks is at present a real estate broker in Florida.

Frank Langella is superb as the heartless father who drives his family like cattle in the quest of power and wealth. Ryan Gosling offer a multifaceted performance of the deeply disturbed David and is match by Kirsten Dunst’s bravura performance as Katie, the simple bright girl whose life is quashed by a powerful family’s sickness. The brilliant cast, including the performances by Philip Baker Hall and Lilly Rabe – daughter of the deceased Jill Clayburgh), has excellent cameo roles by Diane Venora, Trini Alvarado, David Margulies, Nick Offerman and many more. This is a tough film to watch because at the bottom of it all is that it is true and the cases are unsolved. It makes us cringe but it is a very fine film.

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Home » dir » David Marx Florida Real

Trust (2010)

I had the privilege to be among the first in North America to screen David Schwimmer’s latest film last night at the Toronto International Film Festival (TIFF), with cast members including Clive Owen and Catherine Keener (two of my favourite actors) present as well as the director, Schwimmer himself.

Before the screening, the former “Friends” star provided some valuable context for the film, sharing his personal connection to the topic. It was enlightening to learn that he himself is a dedicated advocate for survivors of sexual assault/abuse and has spent a great deal of time working and interacting with the families impacted, because the film was executed with such a sensitivity and deep psychological understanding around the difficult topic.

Before delving into my review let me just say upfront (for those who are quickly trying to decide whether or not to see this) that this is a good movie, and yes you should see it.

I also went into this film not knowing its rating and I can assure you, that while the subject is very heavy and there are some disturbing scenes and some violence, there is nothing here so sexually graphic that it is too uncomfortable to watch – even my husband who I would consider to be a “sensitive” viewer did not find the film to be graphic.

“Trust” is the kind of movie that relies heavily upon the plausibility of its dialogue and the believability of its actors. If the script was poorly written or the innumerable emotional scenes poorly acted, the whole thing might have been a disaster for Schwimmer.

Instead, Kenner and Owen turned in Oscar-worthy performances that invited viewers into their home, their marriage and their suffering. Under great direction, Owen led his character through a roller-coaster of emotions that was accessible to viewers, as we shared in his character’s progression through anger, grief and understanding.

Not to be overlooked, and the true star of this film, is the young Liana Liberato who plays the daughter and the victim with such authenticity that it was at some times painful to watch. Not enough can be said about how incredible she was in this film – I think the career she has ahead of her will speak for itself.

Of course, the best acting in the world would have been wasted if the screenplay was weak, but with Robert Festinger (who wrote the screenplay for “In the Bedroom”) on board, you can expect a convincing storyline and dialogue that felt real.

At times, the film comes dangerously close to being cliché or cheesy like a television drama or TV movie-of-the-week. And this is almost inevitable when trying to make a cautionary drama with the underlying objective of raising awareness around a societal issue. However any time you feel the film beginning to veer down this path, it is rescued by the incredible acting and you forget once more that you are watching a film. Even the ending which I thought at first was a bit overly sentimental, quickly took an unexpected and dark turn that, for me, restored its credibility.

This is a powerful and very important film, not just for families but also for David Schwimmer’s career because now the sitcom actor-turned- director has established himself as a serious and very capable dramatic filmmaker who is not afraid to take on challenging material.

I’m not sure how well “Trust” will do outside of the film festival or if it would appeal to mass audiences, however I do hope people see it, especially those who care about this important issue.

I would definitely watch a David Schwimmer film again in the future – he has legitimate talent behind the camera and should he make more marketable movies in the future, he might actually make it big as a director.

I give this movie a solid 8 out of 10. Congratulations to Schwimmer and your team on this great accomplishment. And, as a woman and caring citizen, thank you for telling this story.

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Harry Potter and the Deathly Hallows: Part 1 (2010)

It should be wise for people to at least watch the first six films in order before watching this one, if they haven’t read the books already.

With this film, we are slowly but surely bidding farewell to one of cinema’s most successful and imaginative franchises. The franchise, like Harry Potter himself, has grown and matured as the years (and films) progress. Part I of the “Deathly Hallows” is ultimately a strong build- up to what will be a triumphant, bittersweet finale for everybody.

I won’t waste time trying to talk about the performances, because they are all great and powerful in their own way. Never mind that many of the cast members are very talented veteran British actors (try getting John Hurt, Alan Rickman, Ralph Fiennes, Brendan Gleeson, David Thewlis, Michael Gambon, Helena Bonham Carter, Imelda Staunton, Jason Isaacs and Bill Nighy in the same film again) – the three young actors who we have come to love and care for following the first film a decade ago, basically carry the franchise on their shoulders, and this film is no exception. Radcliffe looks handsome, Grint looks gruff, and Watson looks gorgeous. They’ve grown into fine young people.

Screenwriter Steve Kloves doesn’t forget to add the mood and gloom to the story as it slowly unfolds, but then again he adds some light humor to the film when it needs it. Bonus points for making this not only a visual spectacle, but also a character-driven ensemble; there’s some complex characterization here. Also there’s some action which aren’t seen on screen, but mentioned by the characters. It’s OK, because it’s necessary for the brisk pacing, and it’s not really that important anyways. Besides, the human mind can imagine these images far more powerfully.

There are many themes in this film. Sacrifice, determination, (obviously) friendship, and above all – acceptance. As the films progressed the films started to gain an increasingly dark momentum – signaling that all hope may be lost. But in the end, will good triumph over evil? Like the film, real life isn’t so sure. Also, the fact that the actors and crew are moving on after a decade of making these films – it’s also another way of acceptance – the films have ended, they’re moving on for the better of their lives/careers. It’s real life, and I wish all these promising young actors brilliant lives and careers ahead of them.

“Hallows: Part I” is many parts thrilling, as there are quite a number of intense action sequences. Many of them, of course, are done with well-rendered visual effects, and in this one they just blend in at a natural level without being too jarring. However, the action sequences are perfectly blended in with the gripping, dramatic moments. They don’t feel heavy handed and it’s beautiful to look at. The animated sequence about the origins of the Deathly Hallows is an absolute masterclass and jaw-droppingly beautiful to both watch and listen. If separated by itself it can win an Oscar for best animated short.

The crew also get their due here. David Yates has gotten a firm grip on the film’s direction since directing the fifth and sixth films years ago. The cinematography is stunning and exquisite, and it gives off a certain moody hue to the film. The editing is also crisp, it’s not choppy when it doesn’t need to be. Alexandre Desplat’s score really makes a difference, it literally puts you into the world with its beautiful, harmonious, and emotional tones.

In short, I would have to say that this film is the best “Harry Potter: film yet in all honesty. I grew up with the series, and as per the actors, it will be an emotional goodbye. But rest assured, the finale will be grand.

One more thing. This interpretation of the novel is the best one yet. The novel is done justice, something not seen since the first three films. It’s something for both the fans and novel-readers alike, as there are some pieces only book readers can discover while watching the film. It’s definitely a huge improvement over “Half-Blood Prince”‘s adaptation, which for me is the worst Potter film.

Harry Potter is a phenomenon. But, like all things, it most come to an end eventually. This is the beginning of the end, and I wouldn’t have it any other way.

Overall rating: 75/100

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