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 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 Unstrung Heroes
Lowest review score: 0 Vulgar
Score distribution:
  1. Negative: 48 out of 400
400 movie reviews
    • 70 Metascore
    • 75 Edward Guthmann
    The best reason in years to reconsider (Woody Allen).
    • 67 Metascore
    • 75 Edward Guthmann
    Stettner approaches this material with a playwright's incisiveness and structural sense. His dialogue is cutting, often surprising.
    • 47 Metascore
    • 75 Edward Guthmann
    I'm not quite sure what David Cronenberg is trying to say in Crash, but whatever it is, he deserves a lot of credit for having the nerve to put it on screen and face the consequences.
    • 72 Metascore
    • 75 Edward Guthmann
    The result is startling and repellent -- a challenge to filmgoers accustomed to fake gunfire, fake wounds and cosmeticized death.
    • 54 Metascore
    • 75 Edward Guthmann
    Joel Schumacher, the director of "Falling Down," "The Client" and "Batman Forever," has a strong feel for this kind of glossy pop entertainment and a way of integrating social issues without sacrificing narrative drive.
    • 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.
    • 75 Metascore
    • 75 Edward Guthmann
    Mangold's sympathy is genuine and his refusal to mock or condescend to his characters -- indeed, that may be the point of the film -- is a pleasure.
    • 47 Metascore
    • 75 Edward Guthmann
    Dangerous Minds doesn't drop the sentimental conventions of the good-teacher Hollywood drama but reconstitutes them with strong performances, sensitive direction by Canadian film maker John N. Smith ("The Boys of St. Vincent") and a firm belief that teachers can and will make a difference in a person's life.
    • 46 Metascore
    • 75 Edward Guthmann
    Some scenes ramble and go on too long, dialogue occasionally turns awkward and adolescent, and the film threatens to collapse from its own unchecked anger.
    • 61 Metascore
    • 75 Edward Guthmann
    Dead Man plays a lot of cards at the same time, and Jarmusch occasionally loses his rhythm when he allows his actors their improvisational riffs.
    • 67 Metascore
    • 75 Edward Guthmann
    I don't want to damn Holofcener's efforts with faint praise, but the best way to describe Walking and Talking is to say that it's pleasant and charming.
    • 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
    It's hard to follow, the characters are ill-defined, and the wide-angle shots used by Wong's perennial cinematographer, Christopher Doyle, are deliberately unflattering.
    • 64 Metascore
    • 75 Edward Guthmann
    You can see the outcome from a distance, but Michael Lehmann ("Heathers") directs with such snap, and the actors play their concert of comic duets and trios with such skill and charm, that The Truth About Cats & Dogs emerges a surprising, first-rate romantic comedy.
    • 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.
    • 75 Metascore
    • 75 Edward Guthmann
    It's a witty, intelligent scramble, and it's beautifully mounted.
    • 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
    • 55 Metascore
    • 75 Edward Guthmann
    An absorbing look at emotional tyranny, with a great screenplay by Ruth Prawer Jhabvala.
    • 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
    • 67 Metascore
    • 75 Edward Guthmann
    One of the most effective thrillers in years, Attraction did an excellent job of mixing its suspense with trendy issues of sexual paranoia and monogamy. [27 Dec 1987, p.19]
    • San Francisco Chronicle
    • 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.
    • 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
    • 48 Metascore
    • 75 Edward Guthmann
    It's a sweet, low-key and satisfying film -- and it deserves a heap of credit for treating its subject with humor and humanity.
    • 76 Metascore
    • 75 Edward Guthmann
    A film that, despite its slight intentions, offers several lovely moments.
    • 86 Metascore
    • 63 Edward Guthmann
    Film is often too subtle and languorous for its own purposes: At times, it's close to soporific.
    • 64 Metascore
    • 63 Edward Guthmann
    Wildly ambitious, unwieldy epic.
    • 64 Metascore
    • 63 Edward Guthmann
    Harron validates and largely clarifies the work.
    • 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.
    • 71 Metascore
    • 50 Edward Guthmann
    Sexual curiosity is a very dangerous thing in Rain, a dazzling mood piece from New Zealand filmmaker Christine Jeffs.
    • 17 Metascore
    • 50 Edward Guthmann
    A schlocky thriller that might appeal to less discriminating members of the mall crowd.