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 I Shot Andy Warhol
Lowest review score: 0 Vulgar
Score distribution:
  1. Negative: 48 out of 400
400 movie reviews
    • 53 Metascore
    • 50 Edward Guthmann
    It's hard to give two hoots about any of these characters.
    • 52 Metascore
    • 50 Edward Guthmann
    Light and innocuous.
    • 68 Metascore
    • 50 Edward Guthmann
    Talky, emphatically unsteamy psychological drama.
    • 51 Metascore
    • 50 Edward Guthmann
    It rambles, it's repetitive, but once in a while there's a sparkling moment when someone speaks in a way that conjures the fierce passion of the '60s.
    • 40 Metascore
    • 50 Edward Guthmann
    X
    Too bad the plotting is jumbled, and the characters too numerous and undifferentiated.
    • 38 Metascore
    • 50 Edward Guthmann
    The wolf-homosexual analogy is well drawn, but Wolves ultimately feels slight, a tad unfinished -- as if it were conceived as a sketch and hadn't been fleshed out to feature length.
    • 35 Metascore
    • 50 Edward Guthmann
    The best scenes are the ones that Fox shares with Tamala Jones, Wendy Raquel Robinson and the full-figured Monique as her sassy girlfriends. There's a ripe, crackling spontaneity when these women get together.
    • 49 Metascore
    • 50 Edward Guthmann
    This is pleasant, safe entertainment that ought to appeal to kids younger than 10, especially to girls, with its female-empowerment fantasy.
    • 52 Metascore
    • 50 Edward Guthmann
    A menage a trois tale that aspires to the breezy screwball comedies of the 1930s -- but more often resembles a hip soap opera.
    • 47 Metascore
    • 50 Edward Guthmann
    Gratuitous, yes, but Giannaris has the visual finesse to make it work.
    • 55 Metascore
    • 50 Edward Guthmann
    Floats along on the strength of its writing and supporting cast.
    • 49 Metascore
    • 50 Edward Guthmann
    Melodramatic take on love and war.
    • 56 Metascore
    • 50 Edward Guthmann
    Largely and insider's joke.
    • 41 Metascore
    • 50 Edward Guthmann
    A confounding and unsatisfying film.
    • 66 Metascore
    • 50 Edward Guthmann
    Her direction is weak, her dialogue is cliched, and her acting lacks energy and focus.
    • 52 Metascore
    • 50 Edward Guthmann
    Surprisingly tepid and soapy.
    • 46 Metascore
    • 50 Edward Guthmann
    An arid, uninvolving film that suffers from Burrows' miscasting as the vain Julie.
    • 66 Metascore
    • 50 Edward Guthmann
    Sweet and insubstantial -- just like the French Christmas cake for which it's named.
    • 31 Metascore
    • 50 Edward Guthmann
    A pretty lame premise for a movie.
    • 44 Metascore
    • 50 Edward Guthmann
    Ultimately there's something too measured, too controlled in his film.
    • 73 Metascore
    • 50 Edward Guthmann
    A provocative, upsetting film.
    • 71 Metascore
    • 50 Edward Guthmann
    When Ross gets serious and grasps for allegorical import, Pleasantville bogs down in mixed ambitions.
    • 50 Metascore
    • 50 Edward Guthmann
    Has a weirdly divided structure that alternates Irwin's nature segments with clumsy dramatic footage set in the CIA.
    • 53 Metascore
    • 50 Edward Guthmann
    A time-waster that might be diversionary on a dull cross-Atlantic flight -- but only in the absence of alternatives.
    • 51 Metascore
    • 50 Edward Guthmann
    A superficial diversion.
    • 77 Metascore
    • 50 Edward Guthmann
    I just wish that "Apollo 13" worked better as a movie, and that Howard's threshold for corn, mush and twinkly sentiment weren't so darn wide.
    • 45 Metascore
    • 50 Edward Guthmann
    It's a classy but downbeat spin on the most familiar of TV-movie formulas.
    • 46 Metascore
    • 50 Edward Guthmann
    A not-insubstantial comedy.
    • 65 Metascore
    • 50 Edward Guthmann
    One can admire it, but it's hard to get caught up in it.
    • 70 Metascore
    • 50 Edward Guthmann
    The story of an elaborate con game and the wholesale betrayal of an innocent man, it's also an unusually cold film that ends with a feeling of hollow soullessness.