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 5.7 points higher than other critics. (0-100 point scale)

Edward Guthmann's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 A Beautiful Mind
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
  1. Negative: 48 out of 401
401 movie reviews
    • 67 Metascore
    • 75 Edward Guthmann
    Private Parts is witty and fast-paced and makes Stern's raunchy, breast-obsessed, lesbian-fetishizing, big-penis-envying, arrested-adolescent outlook seem like harmless fun.
    • 63 Metascore
    • 75 Edward Guthmann
    Greenwald is fine at creating the texture of early mountain life but loses her footing by embracing several plot points at once.
    • 49 Metascore
    • 75 Edward Guthmann
    This is a tour-de-force performance, delivered by an actor at the top of his game, and it's a shame that K-Pax, instead of engaging our imaginations as it promises to, devolves into such a conventional, paint-by- numbers disappointment.
    • 80 Metascore
    • 75 Edward Guthmann
    Directed with style and wit by London filmmaker Richard Kwietniowski, who makes his feature debut here, Love and Death is an off-kilter romantic comedy.
    • 68 Metascore
    • 75 Edward Guthmann
    A mystical tale of two souls, joined in love but divided in society, seeking redemption and understanding before they pass to another plane.
    • 63 Metascore
    • 75 Edward Guthmann
    A tale of yuppie conformity and domestic angst that quickly turns into a horror film.
    • 53 Metascore
    • 75 Edward Guthmann
    The Hudsucker Proxy is the Coens' fifth feature in a decade, and you can see their tremendous artistic growth in every frame of the film. Classically composed, beautifully shot by Roger Deakins ("Barton Fink") and co-produced by legendary action-flick producer Joel Silver, Hudsucker has technique and visual invention to spare. [11 Mar 1994, p.C3]
    • San Francisco Chronicle
    • 81 Metascore
    • 75 Edward Guthmann
    A wickedly, punishingly funny movie.
    • 70 Metascore
    • 75 Edward Guthmann
    The movie belongs to Rodriguez: A gorgeous woman with a powerful body and the face of an Aztec princess, she's also a natural talent who instinctively understands the importance of economy in good acting.
    • 69 Metascore
    • 75 Edward Guthmann
    One never knows where "Warm Water" is going and even though the film's objective feels a little fuzzy even at the end a parable on female sexuality? an ode to liberty? there's such a joy in the telling that it doesn't matter terribly.
    • 41 Metascore
    • 75 Edward Guthmann
    This movie has a sweetness at its core.
    • 73 Metascore
    • 75 Edward Guthmann
    Nicely photographed and beautifully scored.
    • 59 Metascore
    • 75 Edward Guthmann
    Places Myers firmly on the top rung of movie comics.
    • 70 Metascore
    • 75 Edward Guthmann
    Burton has trouble sustaining the briskness of the first half. But the brilliance of many individual scenes, and the extraordinary performance by Landau, are more than enough to justify this goofy, tender ode to eccentricity. [7 October 1994, Daily Notebook, p.C1]
    • San Francisco Chronicle
    • 69 Metascore
    • 75 Edward Guthmann
    Demonstrates, if nothing else, that there's a genuine person -- chastened by mistakes and more compassionate, perhaps, for all she's suffered -- beneath the war paint and the stardust.
    • 65 Metascore
    • 75 Edward Guthmann
    It's hokey, implausible and packed with red herrings, and yet it's a lot of fun.
    • 71 Metascore
    • 75 Edward Guthmann
    Clockers has the strengths of Lee's best work (passion, humor, terrific acting) without the preachiness, self-importance and gimmicky camera moves of his weakest.
    • 50 Metascore
    • 75 Edward Guthmann
    Contrived and overly schematic, but De Niro and Hoffman are such good actors that it never slips into pat sentiment.
    • 33 Metascore
    • 75 Edward Guthmann
    Efficient action thriller.
    • 73 Metascore
    • 75 Edward Guthmann
    Takes a fascinating look at the origins and impact of a ballad that's been called "one of ten songs that changed the world."
    • 81 Metascore
    • 75 Edward Guthmann
    Certain to nauseate a portion of its audience.
    • 48 Metascore
    • 75 Edward Guthmann
    Has slow patches and requires a generous suspension of disbelief. But it's also sweet and optimistic -- a welcome antidote to gloom.
    • 58 Metascore
    • 75 Edward Guthmann
    Told so simply and powerfully that it seems to carry echoes of earlier, timeless tales.
    • 47 Metascore
    • 75 Edward Guthmann
    Norman Bates is alive and well, and just a tad kinkier than you remember him.
    • 68 Metascore
    • 75 Edward Guthmann
    Any movie with Meryl Streep is an occasion, but when you add Diane Keaton, Robert De Niro, Leonardo DiCaprio, Hume Cronyn and Gwen Verdon, you've got an embarrassment of riches.
    • 71 Metascore
    • 75 Edward Guthmann
    Downbeat but ultimately hopeful, it's a domestic tragedy that cuts clearly to the bone, finding emotional nuance among the family's knotty secrets and dense layers of subterfuge.
    • 67 Metascore
    • 75 Edward Guthmann
    In Sorkin's vision, this is what ought to happen when a political progressive occupies the White House -- provided he has principles, guts and more on his mind than voter-approval polls and re- election prospects.
    • 75 Metascore
    • 75 Edward Guthmann
    Clever, exceptionally well-written film.
    • 51 Metascore
    • 75 Edward Guthmann
    It's safe, and it's smart, and even though it's lightweight compared to "Boyz" and bound to disappoint a lot of Singleton's admirers, Justice demonstrates that Singleton is more than a one-shot wonder. [23 Jul 1993]
    • San Francisco Chronicle
    • 86 Metascore
    • 75 Edward Guthmann
    Martin Compston, the young man-child of Sweet Sixteen, had never acted before, but his combination of sweetness and rage -- part puppy, part pit bull -- gives Sweet Sixteen a shot of reality and a big, aching heart.

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