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 6 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 Vulgar
Score distribution:
  1. Negative: 48 out of 400
400 movie reviews
    • 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.
    • 84 Metascore
    • 100 Edward Guthmann
    Rippingly good, old-fashioned movie epic.
    • 74 Metascore
    • 100 Edward Guthmann
    Downbeat, ultimately tragic, but there's a wondrous, sad beauty here.
    • 90 Metascore
    • 100 Edward Guthmann
    A great achievement: tense and passionate, a film that one feels not just emotionally but also physically.
    • 90 Metascore
    • 100 Edward Guthmann
    An original, inspired piece of work.
    • 90 Metascore
    • 100 Edward Guthmann
    A great experience, precisely because it's so intimate and unguarded.
    • 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]
    • 82 Metascore
    • 100 Edward Guthmann
    Enchanting documentary that also serves as an animated gallery of Goldsworthy’s uniquely ephemeral art.
    • 87 Metascore
    • 100 Edward Guthmann
    Delivers a full emotional palette without undue sentimentalizing.
    • 90 Metascore
    • 100 Edward Guthmann
    A superb documentary.
    • 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
    • 86 Metascore
    • 100 Edward Guthmann
    Explosive entertainment, with the tension and volatility of its subject matter.
    • 80 Metascore
    • 100 Edward Guthmann
    Fernanda Montenegro gives a landmark performance.
    • 72 Metascore
    • 100 Edward Guthmann
    Inspiring and largely unsentimental, this is as much a love story as a tale of courage.
    • 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.
    • 89 Metascore
    • 100 Edward Guthmann
    A delicate, beautifully observed study of impossible romance, Lost in Translation is one of the best films this year.
    • 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.
    • 73 Metascore
    • 100 Edward Guthmann
    Soft, evanescent and bittersweet.
    • 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.
    • 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.
    • 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.
    • 75 Metascore
    • 100 Edward Guthmann
    A terrific documentary.
    • 68 Metascore
    • 100 Edward Guthmann
    Disarms with its sincerity and frankness.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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)
    • 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.

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