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Machete opened this past weekend to very good reviews. • Owen Gleiberman wrote in Entertainment Weekly, "...a gory, pulpy wink of an action thriller.... The violence is splatterifically witty, but the minor marvel of 'Machete' is how mean everyone in the movie is." • Tirdad Derakhshani wrote in the Philadelphia Inquirer, "It's hard to think of another film this summer that offers such sheer anarchic fun." • Kevin Johnson wrote in the St. Louis Post-Dispatch, "...makes no apologies for its absurdities or silliness, making it an over-the-top thrill ride." • MaryAnn Johanson wrote for Flick Filosopher, "...crazy-funny-violent Mexploitation... there’s a refreshing nothing-sacred attitude to 'Machete,' which is exactly the kind of eccentricity that this kind of movie demands, and gets exactly right." • And Josep Parera wrote in La Opinion, "...dejando de lado intenciones políticas, cabe reconocer que este 'Machete' no deja indiferente, aunque su filo provoque más cosquillas que heridas..."   More Reviews... 

The American opened this past weekend to good not great reviews. Reviews were mixed. • Roger Ebert wrote in the Chicago Sun-Times, "...a gripping film with the focus of a Japanese drama... It is so rare to see a film this carefully crafted, this patiently assembled like a weapon... Clooney is in complete command of his effect." • A.O. Scott wrote in the New York Times, "...the virtues of the film itself are those of craft rather than art.... there is not quite enough there: the still waters run very cool but not terribly deep... a view of its protagonist that is ultimately more sentimental than unsettling or intriguing." • Mary Pols wrote in Time, "...surely the dreariest thriller of the year.... The movie is deliberately vague... its emotional remoteness is contagious: If the film insists on being cryptic, why should we respond?" • And Rene Rodriguez wrote in the Miami Herald, "...an absorbing, unusually quiet mood piece.... [director Anton] Corbijn makes the familiar strange... slight and unessential, but it contains some beautiful, expert filmmaking and bears a distinctly adult sensibility..."   More Reviews... 

Going the Distance opened this past weekend to mixed reviews. • Mick LaSalle wrote in the San Francisco Chronicle, "...first rate.... recognizes that modern people are pretty coarse, that they're loose, profane and cavalier in ways that previous generations weren't. It also knows that love and intimacy have the same urgency as ever.... captures the harshness and the sweetness of our time." • Joe Neumaier wrote in the New York Daily News, "...a suffocating bore." • Tom Long wrote in the Detroit News, "The sheer audacity makes it noteworthy, while the comic talents involved make it work." • Clint O'Connor wrote in the Cleveland Plain-Dealer, "...heartless and soulless, flimsy and formulaic." • And Dana Stevens wrote for Slate, "...a pleasant, floppy romantic comedy that's hard to hate... but also hard to love."   More Reviews... 

Mesrine: Public Enemy #1 opened this past weekend in key cities to good reviews. Reviews were mixed. • Betsy Sherman wrote in the Boston Phoenix, "More idiosyncratic and intriguing than the first half of Jean-François Richet’s diptych, this one also has terrific action setpieces." • Moira Macdonald wrote in the Seattle Times, "Mesrine's life, however fascinating, had a certain repetitive quality to it (commit a crime, go to prison, escape, meet a girl, commit a crime, etc.), and the movie eventually starts to feel this way as well." • Tasha Robinson wrote for the AV Club, "...at its best, it’s a mesmerizing portrait of a man who mesmerized a lot of people, right up to that bloody display of police power on the Paris streets." • And Joe Morgenstern wrote in the Wall Street Journal, "...the second film, in particular, grows tediously episodic, and the exploits become a blur. What never blurs is Mr. Cassel's presence."   More Reviews... 

Last Train Home opened this past weekend at the IFC in New York City to very good reviews. The film opened previously in Toronto. • A.O. Scott wrote in the New York Times, "...a story that, on its own, is moving, even heartbreaking. Multiplied by 130 million, it becomes a terrifying and sobering panorama of the present." • James Adams wrote in the Toronto Globe & Mail, "...a celebration of sorts of the resilience, determination and stoicism of China’s people.... an impressive feature debut from the thirtysomething Lixin Fan and a harbinger of more great documentary cinema." • And Andrew Schenker wrote for Slant, "[Filmmaker] Lixin captures both the beauty of the film's rural and industrial settings and the fevered chaos of the family's public and domestic crises.... notable for the human face it brought to such global questions as shifting economics and the resultant demographic displacements..."   More Reviews... 

Max Manus (Frihedskæmperen Max Manus) opened this past weekend at the Quad Cinemas in New York City to good not great reviews. The film opened previously in Toronto. • Lou Lumenick wrote in the New York Post, "...rousing, fact-based Norwegian movie covers an unusual subject -- the resistance movement in that country during World War II..." • Jason Anderson wrote in the Toronto Star, "A blockbuster in its Scandinavian homeland... feels overly familiar even though the real-life story it tells is little known outside of Norway... blander than it ought to. The narrative also loses momentum in the second half..." • And Nick Pinkerton wrote in the Village Voice, "...bonds of brotherhood are only perfunctorily established, but Hennie's isolation as he finds himself the last man standing in the victory parades is affecting.... period re-creation is lavish—but the too-polished rental décor doesn't create a living past."   More Reviews... 

A Woman, A Gun and a Noodle Shop (San qiang pai an jing qi) opened this past weekend in New York City and Los Angeles to mixed reviews. • Betsy Sharkey wrote in the Los Angeles Times, "...you won't feel as if you're watching a remake so much as a comical re-imagining... a rich brew for some, weak tea for others... a quirky tale with just enough comic broth to make an amusing treat of Zhang's noodle soup." • Keith Phipps wrote for the AV Club, "The film is all over the place, really, until the plot kicks in, at which point Zhang hits the dimmer and plunges everyone into darkness..." • Peter Travers wrote in Rolling Stone, "...visual wonders are dimmed by the filmmaker's broadly comic approach.... [a] bloodless Coen crib job..." • And Andrew O'Hehir wrote for Salon, "Alternately comic and terrifying... a dazzling act of transliteration that may not require knowledge of the original film... There's a lot of strange delight in this film's journey, and there's no use getting all worked up over the bleakness of its destination -- we're all heading that way anyway."   More Reviews... 

My Dog Tulip opened this past weekend at Film Forum in New York City to a handful of very good reviews. • David Edelstein wrote in New York Magazine, "...rhapsodic... words are insufficient: One wants to bark with joy and, at times of melancholy, issue a plaintive howl." • Lou Lumenick wrote in the New York Post, "...dryly funny, adult-oriented animation... Dog lovers won't want to miss 'My Dog Tulip.' Adult dog lovers, that is." • Melissa Anderson wrote in the Village Voice, "[Writer J.R.] Ackerley's empathy and wit are mostly well served in Paul and Sandra Fierlinger's adaptation... transform[s] the seemingly banal relationship between pet and owner into something singular, inimitable, sacred." • And Stephen Holden wrote in the New York Times, "...hand-drawn animation by the directors Paul and Sandra Fierlinger (they are married) and Mr. Plummer’s understated conversational voice combine to make one of the most sophisticated dog movies ever created."   More Reviews... 

Prince of Broadway opened this past weekend at Angelika Film Center in New York City to a handful of very good reviews. • Jeannette Catsoulis wrote in the New York Times, "...a delight... sharp, charismatic and so light on its feet we never know which way it will turn.... the story’s emotional jabs are all the more poignant for their unpredictability." • John Anderson wrote in Daily Variety, "Streetwise, kinetic and solidly dramatic... a convincingly character-driven tale set in a clandestine universe... Acting isn't always spot-on, and the dialogue, which was developed through improvisation (a la Mike Leigh), feels rough at times." • And Joe Neumaier wrote in the New York Daily News, "...gritty, unadorned drama... there are sometimes too many rough edges to both the acting and the storytelling, but [Prince] Adu and especially [Karren] Karagulian give gripping performances."   More Reviews... 

Etienne! opened this past weekend at the ReRun Gastropub Theater in New York City to good reviews. • Michael Rechtshaffen wrote in the Hollywood Reporter, "Sure the performances by the cast of mainly nonactors aren't uniformly accomplished and the technical aspect is equally unsteady, but rather than being deficits, they, along with the inspired soundtrack, simply add to the film's scruffy, underdog appeal." • Jeannette Catsoulis wrote in the New York Times, "...an enormously likable peculiarity, a shambling road trip that effortlessly marries a guileless tone to knowing observations.... Gliding on peaceful ocean vistas and plaintive indie ballads, whimsical conversations and tinkling French ditties..." • And Justin Chang wrote in Daily Variety, "An affectionate, raggedy road movie that feels like a throwback to more innocent times... enormously likable but tonally wobbly, visually rudimentary..."   More Reviews... 

Our Beloved Month of August (Aquele Querido Mês de Agosto) opened this past weekend at the Anthology Film Archives in New York City to good reviews. • J. Hoberman wrote in the Village Voice, "At once laid-back and tricky... relaxes into a meditation on the mysteries of place, personality, and process.... Seemingly haphazard... winds up an artfully contrived Möbius Strip." • Rob Nelson wrote in Daily Variety, "...scores viscerally as well as intellectually. Gorgeously photographed performances by semi-pro Portuguese dance-music bands set one's eyes ablaze and toes tapping, but [director Miguel] Gomes goes further to work the brain as a narrative slowly, sneakily emerges out of the verite melody-making." • And Mike Hale wrote in the New York Times, "...plays with the notion of the film within a film, using nonfiction techniques in a way that places us inside every level of the story... the whole turns out to be less than the sum of its elegantly constructed and cleverly uncategorizable parts."   More Reviews... 

White Wedding opened this past weekend in New York City and Los Angeles to good not great reviews. • Elizabeth Weitzman wrote in the New York Daily News, "The script, with its silly misunderstandings and convenient coincidences, feels more old than new. But [director Jann] Turner makes lovely use of the country's diverse landscapes, and the cast's cheerful commitment proves irresistible." • Gary Goldstein wrote in the Los Angeles Times, "...another get-me-to-the-church-on-time obstacle course but filled with smart social commentary, romantic wisdom, credible complications and memorable characters." • Nathan Rabin wrote for the AV Club, "...a forgettable bit of romantic-comedy fluff... pretends to delve into serious subject matter, but it flatters rather than challenges..." • And V.A. Musetto wrote in the New York Post, "...an affable comedy that, unfortunately, has too many characters and subplots for its own good."   More Reviews... 

The Winning Season opened this past weekend in New York City and Los Angeles to moderate reviews. • Sheri Linden wrote in the Los Angeles Times, "...if the Indiana-set comedy evokes 'Hoosiers,' 'The Bad News Bears' and countless other sports movies, not to mention storytelling clichés, it also has at its center the singular and underappreciated Sam Rockwell." • Lou Lumenick wrote in the New York Post, "Rockwell does a typically fine job -- he's funny, touching and appalling -- as an alcoholic mess..." • Kirk Honeycutt wrote in the Hollywood Reporter, "As both writer and director, [James C.] Strouse embraces the obvious and shuns the unconventional.... several performances stand out, indicating that there was a decent sports movie here that Strouse dribbled right past." • And Stephen Holden wrote in the New York Times, "...so afraid of its own shadow that it cowers in a corner trying to decide what it wants to be.... The one saving grace of the movie is the lead performance of Sam Rockwell."   More Reviews... 

Suck opened this past weekend in national release to fair reviews. • Tom Russo wrote in the Boston Globe, "...an awful lot of material amateurishly drags as the band tours on... the movie has some pointless fun with transitional bits..." • Dennis Harvey wrote in Daily Variety, "Diverting without eking much hilarity or even novelty from a one-joke premise... a lot more fun could have been had at the expense of milieu and music than the script (or the soundtrack of pretty good original songs) tries for." • And Alexandra Cavallo wrote in the Boston Phoenix, "...you won't come much away from this spoof with more than few laughs and a new appreciation for Alice Cooper's acting chops, but I'd still take 'Suck' over 'Twilight' any day."   More Reviews... 

Clear Blue Tuesday opened this past weekend at the Quad Cinemas in New York City to poor reviews. • Joseph Jon Lanthier wrote for Slant, "...wordless depictions of the 9/11 attacks as witnessed by several anonymous New Yorkers.... a film that meditates upon post-9/11 psychology without an urgent sense of purpose or even an empathetic voice to guide us through the event's gnarl of grief isn't simply mediocre, it's dishonorable." • Mike Hale wrote in the New York Times, "...pop musical about living in New York post-9/11 is earnest and well meaning... For the most part, though, you’ll wish that 'Clear Blue Tuesday' were more coherent, consistent and interesting." • And Nick Schager wrote in the Village Voice, "...manages the not-inconsiderable feat of insulting both the memory of the World Trade Center attacks and the musical genre."   More Reviews... 

The Tillman Story opened in additional cities this past weekend to sensational reviews. • Ann Hornaday wrote in the Washington Post, "...masterful, unsettling... reminds us that the stories we long to hear, especially during wartime, also function as a way to distance ourselves from the reality of death... remarkable..." • Claudia Puig wrote in USA Today, "...a probing examination of truth, decency and the American way.... facinating... incites our ire and makes us ache for the loss of the spirited Tillman, and for the family who cherished him." • Bob Mondello said on NPR All Things Considered, "...a riveting detective story... ferocious filmmaking, but it wouldn't have half the force it does if the director didn't also get at the complicated man Pat Tillman was..." • And Kenneth Turan wrote in the Los Angeles Times, "...a story that won't go away, won't leave you alone, won't let you feel at ease. Intensely dramatic, filled with elevated heroism, crass self-interest and blatant stupidity, it's a paradigmatic narrative of our tendentious, turbulent times."   More Reviews... 

Soul Kitchen opened in additional cities this past weekend to good reviews. • Joe Morgenstern wrote in the Wall Street Journal, "...one of a kind... a modern flavor of love, with no layers of conventional development, and all traces of sentiment squeezed out. Yet there's poignance... the thing is bursting with life." • Dana Stevens wrote for Slate, "...shaggily endearing... sprawling, undisciplined, raucous, occasionally crass—and so full of life you forgive it everything." • Walter Addiego wrote in the San Francisco Chronicle, "...a pleasant surprise from German director Fatih Akin.... mainly in the spirit of fun, a loose, generally good-natured comedy with screwball overtones." • And Anthony Lane wrote in the New Yorker, "Not to warm to this movie would be churlish, and foodies will drool on demand... Akin addicts, on the other hand, will emerge undernournished, granted only fitfully the shots of scruffy yearning that we crave..."   More Reviews... 

News, Research, Updates, Etc.

The following chart is available to post on web sites and blogs. It displays live/real-time review information about current releases. The list of movies can be selected to suit any readership, national or local. This is the best review information available. To add the chart, a code is easily embedded in any page. For more information, email editor@MovieReviewIntelligence.com.

Updated less than 1 hour ago
New WIDE Releases	Positive Reviews
Machete	67.1%	WIDE
The American	57.8%	WIDE
Going the Distance	55.8%	WIDE
New Limited Releases
My Dog Tulip	79.0%	NYC
Last Train Home	78.9%	NYC
Prince of Broadway	73.1%	NYC
Etienne!	69.5%	NYC
Mesrine: Public Enemy #1	64.1%	Key Cities
Our Beloved Month of August (Aquele Querido Mês de Agosto)	63.0%	NYC
White Wedding	58.0%	NYC/LA
Max Manus (Frihedskæmperen Max Manus)	57.9%	NYC
The Winning Season	53.3%	NYC/LA
A Woman, A Gun and a Noodle Shop (San qiang pai an jing qi)	51.1%	NYC/LA
Suck	49.0%	National
Clear Blue Tuesday	32.7%	NYC
Average:	52.7%
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