Aniston's "fairy tale ending" is a stand-in for the fairly tale ending we want for ourselves.

CNN: We care that Aniston's getting married. Why?

The moral motion of the film is fairly simple the return, and redemption, of a prodigal son but Gray steeps his tale in murky complication, and the staging of every scene, be it downbeat or frantic, is so assured that you barely notice the implausibilities. (Bobby and Joseph, for instance, hardly look like brothers.) The rain-drenched car chase, halfway through, is reason enough to see the film.

NEWYORKER: We Own the Night