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 Dead Man Walking
Lowest review score: 0 Vulgar
Score distribution:
  1. Negative: 48 out of 400
400 movie reviews
    • 65 Metascore
    • 75 Edward Guthmann
    A breezy, occasionally funny spoof.
    • 68 Metascore
    • 75 Edward Guthmann
    A wonderful, cockeyed sex comedy.
    • 79 Metascore
    • 75 Edward Guthmann
    Delicious but complex.
    • 80 Metascore
    • 75 Edward Guthmann
    Not only celebrates Deren's cinematic legacy but also reveals a gifted talent whose explosive temperament was at odds with the lyrical, dreamlike imagery she put on screen.
    • 62 Metascore
    • 75 Edward Guthmann
    Entertaining.
    • 59 Metascore
    • 75 Edward Guthmann
    Places Myers firmly on the top rung of movie comics.
    • 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.
    • 78 Metascore
    • 75 Edward Guthmann
    A handsome film, filled with lavish costumes and set designs and told in a series of exquisitely composed images. But even with its visual polish, it's a chilly, largely unaffecting film about an unsympathetic man.
    • 71 Metascore
    • 75 Edward Guthmann
    It's a simple story, reminiscent of the Iranian film "The Wind Will Carry Us."
    • 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.
    • 50 Metascore
    • 75 Edward Guthmann
    Guaranteed to inspire, antagonize and divide his (Lee's) audience.
    • 63 Metascore
    • 75 Edward Guthmann
    A sweet, unabashedly sentimental tale.
    • 61 Metascore
    • 75 Edward Guthmann
    It's downbeat material and it tends to drag a bit, but Jia's performance is so unsparing and intense -- and the film so compassionate and chaste in its approach to a life lost and recovered -- that Quitting ultimately satisfies.
    • 82 Metascore
    • 75 Edward Guthmann
    Impassioned and well-crafted, One Day in September is also grueling.
    • 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."
    • 65 Metascore
    • 75 Edward Guthmann
    It's Eric Bana, a popular Australian stand-up comic, who justifies our interest with a dazzling performance of blunt humor, unpredictability and an edge of menace.
    • 81 Metascore
    • 75 Edward Guthmann
    Certain to nauseate a portion of its audience.
    • 81 Metascore
    • 75 Edward Guthmann
    The aftertaste of that father-son scene is so strong, so disturbing, that the riches of Happiness -- its writing, its performances, its trenchant wit -- all seem a bit diminished in the bargain.
    • 86 Metascore
    • 75 Edward Guthmann
    This is Rampling's film, and she's never less than surprising, never less than a revelation.
    • 66 Metascore
    • 75 Edward Guthmann
    A compelling, sympathetic portrait.
    • 81 Metascore
    • 75 Edward Guthmann
    Exhilarating not only for its dreamlike images and fierce, frequently reckless imagination but also for the fact that it got made (and released) at all.
    • 76 Metascore
    • 75 Edward Guthmann
    It's a monster of a movie, and it gets unwieldy.
    • 88 Metascore
    • 75 Edward Guthmann
    Today, Blade Runner works better than ever: Scott's version not only has more dramatic integrity, but its visual aesthetic and futuristic vision are more in sync with today's movie-goers. [11 Sept 1992]
    • San Francisco Chronicle
    • 84 Metascore
    • 75 Edward Guthmann
    A master of minimalism, Finland's Aki Kaurismaki makes films that are so dry, so delicately ironic that they seem on the verge of crumbling in front of us -- but they never do.
    • 53 Metascore
    • 75 Edward Guthmann
    Pool captures the crazed urgency of first love -- the feeling of a passion so fierce that even a disapproving society can't crush it.
    • 66 Metascore
    • 75 Edward Guthmann
    A movie so cheeky, aggressive and bursting with vitality that it can't help being annoying and exhilarating at the same time.
    • 28 Metascore
    • 75 Edward Guthmann
    One of the year's funniest acts of malice.
    • 79 Metascore
    • 75 Edward Guthmann
    A study in unexpressed emotion, but Mamet turns the flame so low that his film lacks the emotional payoff we expect.
    • 68 Metascore
    • 75 Edward Guthmann
    The photography is strong, the performances sympathetic and the sex plentiful.
    • 58 Metascore
    • 75 Edward Guthmann
    A downbeat but oddly affectionate tale.

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