Edward Guthmann
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For 401 reviews, this critic has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% 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 401
401 movie reviews
    • 31 Metascore
    • 25 Edward Guthmann
    Despite its technical defects and negligent production values, The Flip Side will probably appeal to a Filipino-American audience.
    • 44 Metascore
    • 25 Edward Guthmann
    This is the downside of Roberts' giant success and her dazzling ability to charm: Every time she goes plain, as she did in the little-seen "Mary Reilly" and "Michael Collins," our princess simply fizzles.
    • 54 Metascore
    • 25 Edward Guthmann
    Isn't some sober history lesson that bogs down in long speeches and tedious facts. It's about style, it's about fashion, it's about rock 'n' roll busting out in medieval France.
    • 60 Metascore
    • 25 Edward Guthmann
    Beneath the handsome production values, the steady motor of Ron Howard's direction and the solid acting of Mel Gibson as a flashy airline tycoon whose son is abducted in Central Park, Ransom is pure poison: the kind of hang-'em-high rouser that feeds off our basest impulses and prods us into cheering the hero on as he commits grisly, retributive acts of violence.
    • 45 Metascore
    • 25 Edward Guthmann
    The Distinguished Gentleman isn't much of a movie - it's a mess, in fact. [04 Dec 1992]
    • San Francisco Chronicle
    • 23 Metascore
    • 25 Edward Guthmann
    Numbskull cinema scrapes new depths.
    • 58 Metascore
    • 25 Edward Guthmann
    The schmaltz is relentless in The Legend of 1900, the newest film from "Cinema Paradiso'' director Giuseppe Tornatore. It comes in waves, it leeches onto every surface and it turns decent actors into sticky-sweet fuzzballs.
    • 14 Metascore
    • 25 Edward Guthmann
    A glossy piece of trash.
    • 44 Metascore
    • 25 Edward Guthmann
    Girl 6 is glossy, technically proficient and a glib waste of time. Lee and his screenwriter goof around with phone-sex rhetoric ("I wanna service your juicy kielbasa''), but that gets tired quickly.
    • 51 Metascore
    • 25 Edward Guthmann
    Noe isn't a graceful filmmaker. He wants to traumatize his audience, barnstorm us, make us pay in anxiety and sweat and scorched nerves for the ugly truths he wants us to swallow.
    • 56 Metascore
    • 25 Edward Guthmann
    Alan Bates and Charlotte Rampling are the brave stars of this pretty but sterile adaptation of the Anton Chekhov stage classic.
    • 57 Metascore
    • 25 Edward Guthmann
    Too ludicrous to be taken seriously, but not entertaining enough to rate as camp.
    • 11 Metascore
    • 25 Edward Guthmann
    Big, opulent and frequently wretched, Pinocchio is so bad that its American distributor, Miramax, opened it on Christmas Day with scant advertising and no advance press screening.
    • 18 Metascore
    • 25 Edward Guthmann
    Never comes alive.
    • 49 Metascore
    • 25 Edward Guthmann
    A lot of the acting is amateurish, and most of the plot feels like a rehash of a rehash. The music, written and performed in the spirit of L7, is small consolation.
    • 30 Metascore
    • 25 Edward Guthmann
    A white-trash burlesque that springs from the notion that people chasing each other in cars and doing stupid things in motels are inherently funny.
    • 37 Metascore
    • 25 Edward Guthmann
    It's a perfect fit for Williams -- a hunk of slapstick, a dose of schmaltz -- and yet he can't save the film, which is overproduced, mechanical and resoundingly unfunny.
    • 30 Metascore
    • 25 Edward Guthmann
    The movie is stiff and schmaltzy and clumsily directed.
    • 52 Metascore
    • 25 Edward Guthmann
    A self-indulgent mess.
    • 26 Metascore
    • 25 Edward Guthmann
    Cynical to an extreme, it doesn't illustrate its points but blasts them at us -- in italics, boldface and capital letters.
    • 35 Metascore
    • 25 Edward Guthmann
    Boyle isn't the first British or European filmmaker to make his obligatory zesty American road movie (apparently it's a dream for anyone raised on American cinema), but knowing that doesn't make A Life Less Ordinary any less tiring or its numerous pilferings any less obvious or annoying.
    • 25 Metascore
    • 25 Edward Guthmann
    That's a few too many agendas for one film.
    • 40 Metascore
    • 25 Edward Guthmann
    In a movie as hackneyed and as dull as Evolution, the small favors of Duchovny's performance stand out.
    • 38 Metascore
    • 25 Edward Guthmann
    Hollywood hit-making at its efficient, formulaic worst.
    • 21 Metascore
    • 25 Edward Guthmann
    Numbing.
    • 48 Metascore
    • 25 Edward Guthmann
    A glob of comedy, drama, action and suspense.
    • 34 Metascore
    • 25 Edward Guthmann
    This is trash on a big budget, but trash nonetheless.
    • 43 Metascore
    • 25 Edward Guthmann
    Dredges up every cliche about druggy, obnoxious dreamers on the fringes of Hollywood and assumes that said cliches have the power to shock and surprise.
    • 40 Metascore
    • 25 Edward Guthmann
    What is meant to be brave comes off as gimmicky and immature.
    • 65 Metascore
    • 25 Edward Guthmann
    Crooklyn is loud and raucous and occasionally cruel. The actors shout their dialogue, the kids trade insults and the movie has the strained, desperate-for-fun anxiety of a TV sitcom. [13 May 1994, p.C1]
    • San Francisco Chronicle

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