Movies like Tumbleweeds exist in the details, not the outcome. Even a happy ending, we suspect, would be temporary. We don't mind, since the characters have been intriguing to know and easy to care about.

This is a weird, uneven, generally intriguing thriller about a young man whose fantasy life is totally controlled by images from movies.

Nowhere near one of Crowe's great films (like "Almost Famous"), but it is sweet and good-hearted and has some real laughs.

This whole movie is about manners. There is sex and violence, but the movie is not about giving in to them; it's about carrying on as if they didn't exist.

A Hero runs a bit long at 127 minutes and is at times frustratingly ambiguous, but Farhadi has delivered another insightful slice of life and Amir Jadidi turns in a remarkably intriguing performance as the never quite heroic Rahim.

The movie brings into focus how rare religion and spirituality are in American films.

Poetic in its sadness, and Blanchett's performance confirms her power once again.

I found Interview kind of fascinating, especially in the ways that Buscemi and Miller make their performances into commentaries on the types of characters they play.

Not every joke lands, but with a brisk running time of 1 hour and 32 minutes, director/co-writer Seligman displays a keen sense of timing and a real awareness of how to make a point with edgy wit and then move on to the next target as we’re still admiring her willingness to go there, and there, and also there.

This is an entertaining B-movie bolstered by performances from a cast that often rises above the predictable material.

This is a devilishly ingenious screenplay by the sisters Jill and Karen Sprecher.

This is a full-bore, PG-rated, sweet rom-com. It sticks to the track, makes all the scheduled stops and bears us triumphantly to the station. And it is populated by colorful characters, but then, when was the last time you saw a boring Irishman in a movie?

Succeeds beyond any expectations suggested by the title and extends John Cusack's remarkable run: Since 1983, in 55 films, he's never made a bad one.

A fairly close remake of the great 1981 Dudley Moore movie, with pleasures of its own.

It’s a visually arresting movie. But as the plot layers are peeled back, and we’re given one answer after another, Oblivion actually becomes less interesting.

Janet Montgomery is heartbreakingly good as Emma.

There are certainly a lot of actors who can match Hill and Tatum as comic actors, but it’s the oddball connection between these two that makes for a very entertaining couple of hours at the movies.

With an ending clearly setting up further adventures to come, The Super Mario Bros. is a solid kickoff to a new chapter in this enduring, multi-platform franchise

This is actually a pretty good thriller, based more on character and plot than on action for its own sake. The need to construct killings that look like accidents adds to the interest.

Dogfight isn't a love story so much as a story about how a young woman helps a confused teenage boy to discover his own better nature. The fact that his discoveries take place on the night before he ships out to fight the war in Vietnam only makes the story more poignant.

It uses a colorful vocabulary, it contains a lot of energy, it elevates its miserable heroes to the status of icons (in their own eyes, that is).

For a parody, the movie is surprisingly competent in some of the action scenes, when the dim-witted hero turns out to have lightning improvisational skills.

Endearing and vulgar in about the right proportion. The movie doesn't exactly work, but sometimes when a car won't start, it's still fun to look at the little honey gleaming in the driveway.

Many love stories contrive to get their characters together at the end. This one contrives, not to keep them apart, but to bring them to a bittersweet awareness that is above simple love. Some audience members would probably prefer a romantic embrace in the sunset, as the music swells. But "Love Jones'' is too smart for that.

This is an uncommonly involving thriller. I could call it a film noir, except that the sun never sets in the film. That makes a perfect contrast with the only other feature filmed in Barrow, the vampire movie "30 Days of Night" (2007), in which it never rises.

More fable than slice of life, and all these people and props give Robert De Niro and Philip Seymour Hoffman their opening to create two screwy characters from opposite ends of the great personality divide

Although the movie centers on well-made action scenes and contains a couple of tidy surprises, its strength comes from the portrait of this soldier on the edge.

Duchovny has never been better. Even if you’re a Yankees fan, you’ll appreciate the heart and passion of “Reverse the Curse.”