Edward Guthmann
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For 400 reviews, this critic has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 5.9 points higher than other critics. (0-100 point scale)

Edward Guthmann's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Sweet Hereafter
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
  1. Negative: 48 out of 400
400 movie reviews
    • 70 Metascore
    • 100 Edward Guthmann
    Rich with physical and psychological texture, and boosted by Thomas Newman's muted score, Unstrung Heroes is that rare mainstream film that doesn't shout in our ear to make its points. It draws us in, subtly and gracefully, and casts a lingering charm.
    • 85 Metascore
    • 100 Edward Guthmann
    All things considered, The Long Day Closes is a remarkable film -- tender and intelligent, long on mood and short on ''action,'' a cinematic poem that stands head and shoulders above the summer harvest of bonehead action thrillers. [23 July 1993, p.C9]
    • San Francisco Chronicle
    • 90 Metascore
    • 100 Edward Guthmann
    A superb documentary.
    • 72 Metascore
    • 100 Edward Guthmann
    Inspiring and largely unsentimental, this is as much a love story as a tale of courage.
    • 75 Metascore
    • 100 Edward Guthmann
    Typically, films about '60s subculture recycle the same set of media cliches and teach us nothing. Harron approaches the milieu with curiosity, compassion and an anthropologist's eye.
    • 75 Metascore
    • 100 Edward Guthmann
    A terrific documentary.
    • 90 Metascore
    • 100 Edward Guthmann
    A great achievement: tense and passionate, a film that one feels not just emotionally but also physically.
    • 78 Metascore
    • 100 Edward Guthmann
    The beauty of Morris' achievement is the way he fuses Hawking's work in theoretical physics with his subject's life history -- finding subtle connections between the two, and avoiding the pat, predictable structure of biographical film. [28 Aug 1992, p.C3]
    • San Francisco Chronicle
    • 73 Metascore
    • 100 Edward Guthmann
    A first-rate crime thriller and further proof that Soderbergh is one of our great contemporary film stylists.
    • 84 Metascore
    • 100 Edward Guthmann
    Rippingly good, old-fashioned movie epic.
    • 75 Metascore
    • 100 Edward Guthmann
    It's a tribute to Day-Lewis that he can play a character like Danny -- cautious, withdrawn, inarticulate -- and endow him an eloquence and grace that aren't dependent on language. Without him, The Boxer might still be a powerful tale of loyalty and love, with a core of moral complexity; with Day-Lewis in the lead, it approaches greatness.
    • 93 Metascore
    • 100 Edward Guthmann
    Crumb is one of the most provocative, haunting documentaries of the last decade.
    • 86 Metascore
    • 100 Edward Guthmann
    Explosive entertainment, with the tension and volatility of its subject matter.
    • 91 Metascore
    • 100 Edward Guthmann
    The cruelty of his methods aside -- and Polanski wasn't the first director to terrorize an actor for the sake of a performance -- Repulsion is a frightening, fiercely entertaining experience that holds up to time. (Review of May 1998 revival)
    • 90 Metascore
    • 100 Edward Guthmann
    Egoyan's voice is so clear and loving, his vision so forgiving and his film so intelligent that you come away refreshed.
    • 63 Metascore
    • 100 Edward Guthmann
    The film underscores the paradox in this man's life: the split between the mild-mannered New Yorker and the fearless vagabond who joined an Arakmbut hunting raid.
    • 84 Metascore
    • 100 Edward Guthmann
    A story that's startling, soulful and absolutely unforgettable.
    • 86 Metascore
    • 100 Edward Guthmann
    A lot of actors are labeled "brave" for taking on difficult scripts like this, but Spacek is the real thing: an artist first, without vanity, and a movie star almost by default.
    • 64 Metascore
    • 100 Edward Guthmann
    This is a smart film, told in a minor key, that augurs well for Whaley's directing career.
    • 100 Metascore
    • 100 Edward Guthmann
    In scene after scene -- the long wedding sequence, John Marley's bloody discovery in his bed, Pacino nervously smoothing down his hair before a restaurant massacre, the godfather's collapse in a garden -- Coppola crafted an enduring, undisputed masterpiece. [21 Mar 1997, Daily Datebook, p.C3]
    • 86 Metascore
    • 100 Edward Guthmann
    All the actors are good, but it's Farnsworth's brilliantly simple performance that brings The Straight Story so close to greatness.
    • 74 Metascore
    • 100 Edward Guthmann
    The writing, by Rapp and Catherine Dussart, is exquisite, and the performers, including Francois Truffaut's old colleague Jean-Pierre Leaud as a magistrate, are all first-rate.
    • 67 Metascore
    • 100 Edward Guthmann
    In his big-screen directing debut, British film maker Danny Boyle demonstrates wit, intelligence and economy of style.
    • 89 Metascore
    • 100 Edward Guthmann
    Magical and haunting, The Piano has the power and delicate mystery of a gothic fairy tale. [19 Nov 1993]
    • San Francisco Chronicle
    • 82 Metascore
    • 100 Edward Guthmann
    Enchanting documentary that also serves as an animated gallery of Goldsworthy’s uniquely ephemeral art.
    • 69 Metascore
    • 100 Edward Guthmann
    A wonderfully twisted comedy.
    • 58 Metascore
    • 100 Edward Guthmann
    It's a glamorous revenge romp, a "9 to 5" mixed with "Auntie Mame," and it gives each star the opportunity to do her best work in a long, long time.
    • 73 Metascore
    • 100 Edward Guthmann
    The difference is that Iain Softley, who directed Wings of the Dove, and his screenwriter Hossein Amini, who wrote the overlooked "Jude," are keen observers who bring a wealth of ambiguity and mystery to the surface -- and release their characters from the cliches that easily could have swallowed them.
    • 99 Metascore
    • 100 Edward Guthmann
    Part fairy tale and part bogeyman thriller -- a juicy allegory of evil, greed and innocence, told with an eerie visual poetry.
    • 73 Metascore
    • 100 Edward Guthmann
    Soft, evanescent and bittersweet.
    • 80 Metascore
    • 100 Edward Guthmann
    Acting rarely gets better than this.
    • 66 Metascore
    • 100 Edward Guthmann
    Deliciously witty and entertaining… A first-rate thriller, one that's likely to generate as much word-of-mouth as “Alien,'' “Carrie'' and “Psycho'' did in their time. [23 Aug 1991, Daily Notebook, p.F1]
    • San Francisco Chronicle
    • 86 Metascore
    • 100 Edward Guthmann
    A wonder of a film -- a luminous, beautifully executed drama that gathers the best cast of the year -- the best American film of the year.
    • 83 Metascore
    • 100 Edward Guthmann
    On a deeper level -- and this is where When We Were Kings exceeds its expectations and becomes a great film -- Gast examines African American pride.
    • 87 Metascore
    • 100 Edward Guthmann
    Delivers a full emotional palette without undue sentimentalizing.
    • 90 Metascore
    • 100 Edward Guthmann
    An original, inspired piece of work.
    • 86 Metascore
    • 100 Edward Guthmann
    This is an amazing record of a group of lives -- and probably more resonant than anyone could have imagined when the project began.
    • 92 Metascore
    • 100 Edward Guthmann
    Wise, delicate and impeccably performed, Yi Yi is a three- hour drama that looks at one middle-class family in transition -- and does so with such a kind and probing eye that we all see our lives reflected through Yang's lens.
    • 61 Metascore
    • 100 Edward Guthmann
    A thrilling, audacious work.
    • 75 Metascore
    • 100 Edward Guthmann
    Beatty has fashioned a hilarious morality tale that delivers a surprisingly potent, angry message beneath the laughs.
    • 78 Metascore
    • 100 Edward Guthmann
    All told, the best ensemble cast I've seen this year.
    • 85 Metascore
    • 100 Edward Guthmann
    It's an horrific and tragic story, but somehow made beautiful through the care and attention of Schnabel's direction and Bardem's tender, unforgettable performance.
    • 69 Metascore
    • 100 Edward Guthmann
    Loose, buoyant and bracingly original.
    • 89 Metascore
    • 100 Edward Guthmann
    A delicate, beautifully observed study of impossible romance, Lost in Translation is one of the best films this year.
    • 93 Metascore
    • 100 Edward Guthmann
    Days of Heaven is a visual poem. Slow and elegant, reverential in the way it celebrates the earth's contours and the play of light. [27 Oct. 1999, p.B3]
    • San Francisco Chronicle
    • 86 Metascore
    • 100 Edward Guthmann
    Remarkable also for the uniform excellence of its cast, and for the pleasure [Altman's] actors take in the wide berth he allows them. [24 Apr 1992]
    • San Francisco Chronicle
    • 57 Metascore
    • 100 Edward Guthmann
    One of the year's sweetest surprises. It sneaks up on you, disarming you with its modesty and tenderness, its remarkable lack of self-infatuation.
    • 81 Metascore
    • 100 Edward Guthmann
    A buoyant, picaresque farce that hums with goofy energy and mines enough ideas, jokes and setups for three movies of this description.
    • 84 Metascore
    • 100 Edward Guthmann
    That's why American Movie cuts so deep: It's about the American dream, about not giving up, about being true to yourself.
    • 80 Metascore
    • 100 Edward Guthmann
    Fernanda Montenegro gives a landmark performance.
    • 69 Metascore
    • 100 Edward Guthmann
    Gorgeous and optimistic.
    • 90 Metascore
    • 100 Edward Guthmann
    A great experience, precisely because it's so intimate and unguarded.
    • 78 Metascore
    • 100 Edward Guthmann
    Emily Watson is ravishingly good -- and brings an amazing focus and intensity to what could have been a disease-of-the-week picture.
    • 68 Metascore
    • 100 Edward Guthmann
    Disarms with its sincerity and frankness.
    • 92 Metascore
    • 100 Edward Guthmann
    An indelible statement on loneliness and spiritual thirst.
    • 60 Metascore
    • 100 Edward Guthmann
    The result is a sprightly, entertaining film, but one in which the satire is neutralized for laughs.
    • 85 Metascore
    • 100 Edward Guthmann
    The magic here is all in the telling: in the graceful, laconic direction of Jacques Becker.
    • 70 Metascore
    • 100 Edward Guthmann
    Altman has delivered a lot of surprises in his long directing career, and his new comedy, Cookie's Fortune, is one of the most refreshing -- not because it's so good, but because it's so sweet and affectionate.
    • 57 Metascore
    • 100 Edward Guthmann
    Doesn't sanitize its tale of African American loss and survival -- the way Steven Spielberg's “The Color Purple'' did -- but delves deeply, heartbreakingly into an American tragedy.
    • 69 Metascore
    • 100 Edward Guthmann
    A delicious comedy that starts out promisingly as a pleasant gag comedy but then turns unexpectedly into a bright social satire.
    • 89 Metascore
    • 100 Edward Guthmann
    4 Little Girls brilliantly captures a moment in American history and tells an achingly painful story of injustice and family loss.
    • 79 Metascore
    • 100 Edward Guthmann
    Extraordinary.
    • 77 Metascore
    • 100 Edward Guthmann
    Superb documentary.
    • 91 Metascore
    • 100 Edward Guthmann
    Leigh goes right to the core of his character's lives and mines the place where we're weakest, most alone and sometimes the cruelest.
    • 89 Metascore
    • 100 Edward Guthmann
    Has there ever been a live concert film as vibrant or as brilliantly realized? I don't think so. [Review of re-release]
    • 74 Metascore
    • 100 Edward Guthmann
    Downbeat, ultimately tragic, but there's a wondrous, sad beauty here.
    • 76 Metascore
    • 100 Edward Guthmann
    Splendid.
    • 61 Metascore
    • 88 Edward Guthmann
    Plummer gives her strangest, most uninhibited screen performance to date. Playing Eunice, a wildly psychotic killer with a working-class British accent and a mysterious past, Plummer draws a streak of white-hot rage across the screen.
    • 79 Metascore
    • 88 Edward Guthmann
    Terrific.
    • 74 Metascore
    • 88 Edward Guthmann
    An entertaining but exhausting satire on tabloid media and the way they feed our thirst for violence, Natural Born Killers stars Woody Harrelson and Juliette Lewis, in banshee-out-of-hell performances, as serial killers Mickey and Mallory Knox -- a trashy, gonzo/weirdo version of Bonnie & Clyde. [26 Aug 1994, p.C1]
    • San Francisco Chronicle
    • 90 Metascore
    • 88 Edward Guthmann
    It's tremendously entertaining, and probably worthy of repeat viewings.
    • 80 Metascore
    • 75 Edward Guthmann
    Fast-paced and unerringly surprising.
    • 46 Metascore
    • 75 Edward Guthmann
    It's a bouncy, occasionally awkward diversion with sharply written characters and good actors.
    • 74 Metascore
    • 75 Edward Guthmann
    At its simplest level, East Is East is a broad comedy, but Puri's acting, so honest and heartbreaking, gives the film weight.
    • 71 Metascore
    • 75 Edward Guthmann
    Dafoe never reverts to campy, movie-monster gestures but seems liberated, consumed by his character, inspired to give a performance that's intuitive and otherworldly.
    • 71 Metascore
    • 75 Edward Guthmann
    A low-budget wonder: rough and gritty around the edges, filmed for what looks like a budget of $1.98, but bristling with energy, passion and intimacy.
    • 75 Metascore
    • 75 Edward Guthmann
    Mangold's sympathy is genuine and his refusal to mock or condescend to his characters -- indeed, that may be the point of the film -- is a pleasure.
    • 79 Metascore
    • 75 Edward Guthmann
    It's compelling, emotionally exhausting terrain, and Altman delivers it in cold, blunt strokes. [22 Oct 1993]
    • San Francisco Chronicle
    • 76 Metascore
    • 75 Edward Guthmann
    A film that, despite its slight intentions, offers several lovely moments.
    • 63 Metascore
    • 75 Edward Guthmann
    Walks a sometimes-shaky line between tenderness and schmaltz.
    • 82 Metascore
    • 75 Edward Guthmann
    A stunning directing debut -- is anything but sentimental about old- country customs.
    • 75 Metascore
    • 75 Edward Guthmann
    Has integrity, but the way he bends his tale to make a statement is overly deliberate.
    • 77 Metascore
    • 75 Edward Guthmann
    The movie's soul isn't its plot but the relationships among the girls.
    • 49 Metascore
    • 75 Edward Guthmann
    One of those go-out-for-coffee-afterward-and-talk-about-it movies, and those are always welcome.
    • 47 Metascore
    • 75 Edward Guthmann
    Dangerous Minds doesn't drop the sentimental conventions of the good-teacher Hollywood drama but reconstitutes them with strong performances, sensitive direction by Canadian film maker John N. Smith ("The Boys of St. Vincent") and a firm belief that teachers can and will make a difference in a person's life.
    • 82 Metascore
    • 75 Edward Guthmann
    An elegant study in perversity.
    • 71 Metascore
    • 75 Edward Guthmann
    It's a simple story, reminiscent of the Iranian film "The Wind Will Carry Us."
    • 76 Metascore
    • 75 Edward Guthmann
    It's a monster of a movie, and it gets unwieldy.
    • 67 Metascore
    • 75 Edward Guthmann
    One of the most effective thrillers in years, Attraction did an excellent job of mixing its suspense with trendy issues of sexual paranoia and monogamy. [27 Dec 1987, p.19]
    • San Francisco Chronicle
    • 64 Metascore
    • 75 Edward Guthmann
    You can see the outcome from a distance, but Michael Lehmann ("Heathers") directs with such snap, and the actors play their concert of comic duets and trios with such skill and charm, that The Truth About Cats & Dogs emerges a surprising, first-rate romantic comedy.
    • 71 Metascore
    • 75 Edward Guthmann
    A movie that eliminates Hollywood gloss and pop cliches -- and in their place offers an honest look at young love and its pitfalls.
    • 61 Metascore
    • 75 Edward Guthmann
    A clever look at con artists and their games of deception.
    • 63 Metascore
    • 75 Edward Guthmann
    Enormously satisfying and fun to watch.
    • 52 Metascore
    • 75 Edward Guthmann
    It's a weird movie, in that spooky/sicko, deadpan way that Lynch's movies always are, and it's guaranteed to repel anyone who likes entertainment wrapped in tidy resolutions and optimistic fade- outs.
    • 58 Metascore
    • 75 Edward Guthmann
    A downbeat but oddly affectionate tale.
    • 54 Metascore
    • 75 Edward Guthmann
    Joel Schumacher, the director of "Falling Down," "The Client" and "Batman Forever," has a strong feel for this kind of glossy pop entertainment and a way of integrating social issues without sacrificing narrative drive.
    • 82 Metascore
    • 75 Edward Guthmann
    Impassioned and well-crafted, One Day in September is also grueling.
    • 46 Metascore
    • 75 Edward Guthmann
    Some scenes ramble and go on too long, dialogue occasionally turns awkward and adolescent, and the film threatens to collapse from its own unchecked anger.
    • 70 Metascore
    • 75 Edward Guthmann
    A showcase for Wang's greatest strengths as a film maker: a chance to explore friendships, connections and random serendipities.
    • 72 Metascore
    • 75 Edward Guthmann
    Never becomes the thoroughly satisfying psychological drama that it promises to be. There's also a problem with the central metaphor of ice -- a literary device that turns repetitive and obvious.

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