Edward Guthmann

Select another critic »
For 415 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 4.1 points higher than other critics. (0-100 point scale)

Edward Guthmann's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Naked Gun 33 1/3: The Final Insult
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
  1. Negative: 48 out of 415
415 movie reviews
    • 77 Metascore
    • 75 Edward Guthmann
    The movie's soul isn't its plot but the relationships among the girls.
    • 49 Metascore
    • 75 Edward Guthmann
    One of those go-out-for-coffee-afterward-and-talk-about-it movies, and those are always welcome.
    • 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.
    • 82 Metascore
    • 75 Edward Guthmann
    An elegant study in perversity.
    • 71 Metascore
    • 75 Edward Guthmann
    It's a simple story, reminiscent of the Iranian film "The Wind Will Carry Us."
    • 76 Metascore
    • 75 Edward Guthmann
    It's a monster of a movie, and it gets unwieldy.
    • 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
    • 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
    A movie that eliminates Hollywood gloss and pop cliches -- and in their place offers an honest look at young love and its pitfalls.
    • 61 Metascore
    • 75 Edward Guthmann
    A clever look at con artists and their games of deception.
    • 63 Metascore
    • 75 Edward Guthmann
    Enormously satisfying and fun to watch.
    • 52 Metascore
    • 75 Edward Guthmann
    It's a weird movie, in that spooky/sicko, deadpan way that Lynch's movies always are, and it's guaranteed to repel anyone who likes entertainment wrapped in tidy resolutions and optimistic fade- outs.
    • 58 Metascore
    • 75 Edward Guthmann
    A downbeat but oddly affectionate tale.
    • 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.
    • 82 Metascore
    • 75 Edward Guthmann
    Impassioned and well-crafted, One Day in September is also grueling.
    • 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.
    • 70 Metascore
    • 75 Edward Guthmann
    A showcase for Wang's greatest strengths as a film maker: a chance to explore friendships, connections and random serendipities.
    • 72 Metascore
    • 75 Edward Guthmann
    Never becomes the thoroughly satisfying psychological drama that it promises to be. There's also a problem with the central metaphor of ice -- a literary device that turns repetitive and obvious.
    • 70 Metascore
    • 75 Edward Guthmann
    van der Groen, described as "Belgium's national treasure," is especially terrific as Pauline.
    • 66 Metascore
    • 75 Edward Guthmann
    It's that compelling sense of mystery, of the endless search and its undercurrent of loneliness, that sets this great filmmaker apart.
    • 75 Metascore
    • 75 Edward Guthmann
    Devlin tells his story without bias but with shards of gallows humor.
    • 63 Metascore
    • 75 Edward Guthmann
    It's a distinctly French feeling -- an air of caprice and light expectations -- and a perfect prologue to a delightful film.
    • 59 Metascore
    • 75 Edward Guthmann
    Sarandon and Portman work beautifully -- together, negotiating a range of emotional keys that blend comedy and drama in the same moment.
    • 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.
    • 69 Metascore
    • 75 Edward Guthmann
    Nicely performed by a quintet of actresses, but nonetheless it drags.
    • 69 Metascore
    • 75 Edward Guthmann
    Dark and beautifully directed melodrama about the strange intersection of racism and emotional need.
    • 54 Metascore
    • 75 Edward Guthmann
    A lively, ultimately sad portrait.
    • 74 Metascore
    • 75 Edward Guthmann
    Captures one of the wildest, most heartbreaking episodes in Gilliam's career.
    • 70 Metascore
    • 75 Edward Guthmann
    The best reason in years to reconsider (Woody Allen).
    • 62 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.

Top Trailers