Edward Guthmann

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For 405 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 5.1 points higher than other critics. (0-100 point scale)

Edward Guthmann's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Crumb
Lowest review score: 0 Big Daddy
Score distribution:
  1. Negative: 48 out of 405
405 movie reviews
    • 68 Metascore
    • 75 Edward Guthmann
    A wonderful, cockeyed sex comedy.
    • 69 Metascore
    • 75 Edward Guthmann
    If they weren't so funny and real, and if Linklater hadn't done such a good job in writing their dialogue and casting them, their lack of ambition might seem depressing, and the movie might come off as some smug hymn to negativity. [9 Aug. 1991, p.F3]
    • San Francisco Chronicle
    • 55 Metascore
    • 75 Edward Guthmann
    An absorbing look at emotional tyranny, with a great screenplay by Ruth Prawer Jhabvala.
    • 89 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
    • 82 Metascore
    • 75 Edward Guthmann
    [Raimi]'s drawn lovely, complex performances from Paxton and Thornton and proven that he can work effectively -- and movingly -- in a minor emotional key.
    • 69 Metascore
    • 75 Edward Guthmann
    Joyously unhinged and outrageously inventive.
    • 69 Metascore
    • 75 Edward Guthmann
    A goofy genre-buster that takes its amateur criminals as seriously as ``Pulp Fiction'' or ``Run Lola Run'' did theirs.
    • 68 Metascore
    • 75 Edward Guthmann
    One of the most impressive actor-to-filmmaker transitions in recent years.
    • 57 Metascore
    • 75 Edward Guthmann
    Graham Greene ("Dances With Wolves") in one of the year's best performances, he's a fully dimensional character: pathetic and shrewd, tragic and bitterly funny.
    • 73 Metascore
    • 75 Edward Guthmann
    A marvelous film.
    • 68 Metascore
    • 75 Edward Guthmann
    Heartfelt and passionate and brave in what it attempts to explore.
    • 76 Metascore
    • 75 Edward Guthmann
    Great pleasures.
    • 46 Metascore
    • 75 Edward Guthmann
    Apart from Lawrence's goofing, Blue Streak isn't much of a movie.
    • 72 Metascore
    • 75 Edward Guthmann
    The result is startling and repellent -- a challenge to filmgoers accustomed to fake gunfire, fake wounds and cosmeticized death.
    • 64 Metascore
    • 75 Edward Guthmann
    For music fans, there's great pleasure in hearing new audio tracks to "Sitting Here in Limbo," "Friend of the Devil" and more songs -- each one complete and unedited.
    • 72 Metascore
    • 75 Edward Guthmann
    There's tremendous maturity and skill in Felicia's Journey but also a sense of impending horror that's bound to repel some audience members -- even though the violence is all implied.
    • 76 Metascore
    • 75 Edward Guthmann
    For all its flaws and vagueness, Safe is smart, challenging and provocative -- a film that gives you plenty to chew on, long after Carol's sad tale has wound down.
    • 66 Metascore
    • 75 Edward Guthmann
    It's that dilemma -- a commitment to Orthodox life, the refusal to deny one's sexuality and the fear of expulsion once that sexuality is revealed -- that director Sandi Simcha DuBowski illustrates so powerfully.
    • 68 Metascore
    • 75 Edward Guthmann
    They're great, every one of them, but the real joy of Little Voice is Horrocks: her impeccable evocation of a timid soul and that eerie voice that sounds so surprising coming out of her.
    • 65 Metascore
    • 75 Edward Guthmann
    It's smart and good-hearted and boasts an amazingly good score, but the film is limited by the very private nature of the man it portrays.
    • 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.
    • 87 Metascore
    • 75 Edward Guthmann
    Meticulously crafted, and warmly acted by a cast that includes Winona Ryder as Jo and Susan Sarandon as her mother, the devoted Marmee, Little Women is one of the rare Hollywood studio films that invites your attention, slowly and elegantly, rather than propelling your interest with effects and easy manipulation.
    • 80 Metascore
    • 75 Edward Guthmann
    Bound to be talked about, debated and eviscerated far more than it's understood.
    • 67 Metascore
    • 75 Edward Guthmann
    Stettner approaches this material with a playwright's incisiveness and structural sense. His dialogue is cutting, often surprising.
    • 84 Metascore
    • 75 Edward Guthmann
    Succeeds despite that mismatch of artist and material.
    • 79 Metascore
    • 75 Edward Guthmann
    Delicious but complex.
    • 75 Metascore
    • 75 Edward Guthmann
    An eye-opening documentary.
    • 61 Metascore
    • 75 Edward Guthmann
    Segues confidently from broad humor to tense drama.
    • 86 Metascore
    • 63 Edward Guthmann
    Film is often too subtle and languorous for its own purposes: At times, it's close to soporific.
    • 70 Metascore
    • 63 Edward Guthmann
    Grease isn't a four-star musical. It's fluffy and unimportant, and it gets tedious toward the end with the car-racing sequence that Kleiser staged in the paved-in-concrete Los Angeles River. The friskiness of the performers, the choreography by Patricia Birch and most of all Travolta's phenomenal charm give it its value.

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