Edward Guthmann

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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 Lost in Translation
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
  1. Negative: 48 out of 415
415 movie reviews
    • 58 Metascore
    • 75 Edward Guthmann
    Told so simply and powerfully that it seems to carry echoes of earlier, timeless tales.
    • 47 Metascore
    • 75 Edward Guthmann
    Norman Bates is alive and well, and just a tad kinkier than you remember him.
    • 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
    Downbeat but ultimately hopeful, it's a domestic tragedy that cuts clearly to the bone, finding emotional nuance among the family's knotty secrets and dense layers of subterfuge.
    • 67 Metascore
    • 75 Edward Guthmann
    In Sorkin's vision, this is what ought to happen when a political progressive occupies the White House -- provided he has principles, guts and more on his mind than voter-approval polls and re- election prospects.
    • 75 Metascore
    • 75 Edward Guthmann
    Clever, exceptionally well-written film.
    • 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
    • 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.
    • 55 Metascore
    • 75 Edward Guthmann
    Uses loneliness and alienation as the primary emotional colors on a surprisingly expressive canvas.
    • 60 Metascore
    • 75 Edward Guthmann
    Self-satisfied -- an undisciplined brat of a film.
    • 63 Metascore
    • 75 Edward Guthmann
    A sweet, unabashedly sentimental tale.
    • 82 Metascore
    • 75 Edward Guthmann
    Despite the awkward, stomach- churning camera movements and the grainy, flat images that come with insufficient lighting, the actors' work is often riveting and compelling.
    • 71 Metascore
    • 75 Edward Guthmann
    It's a passionate, beautifully mounted film -- but the agenda she sets for herself is too large and the conflicts she portrays too complicated to be illustrated in a single drama.
    • 86 Metascore
    • 75 Edward Guthmann
    A visually spectacular film, distinguished by strong performances and brilliant Steadicam photography that snakes through the U-boat as its patrols the North Atlantic during World War II. [Director's Cut]
    • 50 Metascore
    • 75 Edward Guthmann
    Guaranteed to inspire, antagonize and divide his (Lee's) audience.
    • 85 Metascore
    • 75 Edward Guthmann
    Wong denies us the satisfaction of resolution, but in sharing his mastery of cinema, and his gift for conveying mood, desire and vivid emotions, he's more than generous.
    • 60 Metascore
    • 75 Edward Guthmann
    A charming, finely nuanced romance.
    • 65 Metascore
    • 75 Edward Guthmann
    Placing style above coherence, Seven glosses over plot points and shows a weakness for cheap, lurid effects.
    • 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.
    • 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.
    • 68 Metascore
    • 75 Edward Guthmann
    A movie by a man who adores film and relishes its potential.
    • 70 Metascore
    • 75 Edward Guthmann
    Could use more background and personal detail on Rijker, but Bankowsky's tight, no- frills approach is always compelling.
    • 74 Metascore
    • 75 Edward Guthmann
    (Holm) nails one of the best roles of his career.
    • 62 Metascore
    • 75 Edward Guthmann
    Entertaining.
    • 86 Metascore
    • 75 Edward Guthmann
    This is Rampling's film, and she's never less than surprising, never less than a revelation.
    • 79 Metascore
    • 75 Edward Guthmann
    Schrader seems to understand these characters implicitly, and the result is probably the best film he has directed.
    • 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.
    • 68 Metascore
    • 75 Edward Guthmann
    Manages to be affectionate without drawing too deeply from a well of sugar and schmaltz.
    • 82 Metascore
    • 75 Edward Guthmann
    At its best, Forrest Gump is a gentle, elegiac fantasy about love and trust.
    • 90 Metascore
    • 75 Edward Guthmann
    The new material makes the film seem lumpy and overstuffed.

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