Edward Guthmann

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For 450 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 2.7 points higher than other critics. (0-100 point scale)

Edward Guthmann's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Secrets & Lies
Lowest review score: 0 Big Daddy
Score distribution:
  1. Negative: 50 out of 450
450 movie reviews
    • 51 Metascore
    • 50 Edward Guthmann
    A superficial diversion.
    • 70 Metascore
    • 100 Edward Guthmann
    Rich with physical and psychological texture, and boosted by Thomas Newman's muted score, Unstrung Heroes is that rare mainstream film that doesn't shout in our ear to make its points. It draws us in, subtly and gracefully, and casts a lingering charm.
    • 85 Metascore
    • 100 Edward Guthmann
    All things considered, The Long Day Closes is a remarkable film -- tender and intelligent, long on mood and short on ''action,'' a cinematic poem that stands head and shoulders above the summer harvest of bonehead action thrillers. [23 July 1993, p.C9]
    • San Francisco Chronicle
    • 62 Metascore
    • 50 Edward Guthmann
    Murphy is wonderful -- I wouldn't begrudge him an Oscar nomination -- but The Nutty Professor is a mess.
    • 59 Metascore
    • 50 Edward Guthmann
    Sweet and harmless -- a beach movie in more ways than one -- but it doesn't run awfully deep.
    • 72 Metascore
    • 50 Edward Guthmann
    A glossy miscalculation.
    • 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.
    • 90 Metascore
    • 100 Edward Guthmann
    A superb documentary.
    • 72 Metascore
    • 100 Edward Guthmann
    Inspiring and largely unsentimental, this is as much a love story as a tale of courage.
    • 31 Metascore
    • 25 Edward Guthmann
    Despite its technical defects and negligent production values, The Flip Side will probably appeal to a Filipino-American audience.
    • 80 Metascore
    • 75 Edward Guthmann
    Fast-paced and unerringly surprising.
    • 46 Metascore
    • 75 Edward Guthmann
    It's a bouncy, occasionally awkward diversion with sharply written characters and good actors.
    • 74 Metascore
    • 75 Edward Guthmann
    At its simplest level, East Is East is a broad comedy, but Puri's acting, so honest and heartbreaking, gives the film weight.
    • 75 Metascore
    • 100 Edward Guthmann
    Typically, films about '60s subculture recycle the same set of media cliches and teach us nothing. Harron approaches the milieu with curiosity, compassion and an anthropologist's eye.
    • 47 Metascore
    • 50 Edward Guthmann
    Ultimately, Regarding Henry has its heart in the right place, but is far too reluctant to share it with us. [10 July 1991, p.E1]
    • San Francisco Chronicle
    • 75 Metascore
    • 100 Edward Guthmann
    A terrific documentary.
    • 71 Metascore
    • 75 Edward Guthmann
    Dafoe never reverts to campy, movie-monster gestures but seems liberated, consumed by his character, inspired to give a performance that's intuitive and otherworldly.
    • 70 Metascore
    • 50 Edward Guthmann
    Talky, emphatically unsteamy psychological drama.
    • 71 Metascore
    • 75 Edward Guthmann
    A low-budget wonder: rough and gritty around the edges, filmed for what looks like a budget of $1.98, but bristling with energy, passion and intimacy.
    • 91 Metascore
    • 75 Edward Guthmann
    He never indulges in schmaltz or melodrama, as most American filmmakers do when approaching this theme -- think of "It's a Wonderful Life" or the awful "When Dreams May Come" -- but delivers a delicate meditation rich with emotion.
    • 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.
    • 44 Metascore
    • 25 Edward Guthmann
    This is the downside of Roberts' giant success and her dazzling ability to charm: Every time she goes plain, as she did in the little-seen "Mary Reilly" and "Michael Collins," our princess simply fizzles.
    • 90 Metascore
    • 100 Edward Guthmann
    A great achievement: tense and passionate, a film that one feels not just emotionally but also physically.
    • 56 Metascore
    • 50 Edward Guthmann
    If John Waters had directed Mermaids, the new Cher comedy, it might have more of the spunk and the trash that it needs. In the hands of middlebrow director Richard Benjamin, it starts off promisingly but finally sinks into schmaltz and melodrama. [14 Dec 1990, p.E1]
    • San Francisco Chronicle
    • 49 Metascore
    • 50 Edward Guthmann
    It's like watching a bad update of an Antonioni film.
    • 92 Metascore
    • 75 Edward Guthmann
    Apocalypse Now is a mixed bag, a product of excess and ambition, hatched in agony and redeemed by shards of brilliance. The new Redux version isn't a better film, but for Coppola fans and film lovers, it's essential viewing.
    • 79 Metascore
    • 75 Edward Guthmann
    It's compelling, emotionally exhausting terrain, and Altman delivers it in cold, blunt strokes. [22 Oct 1993]
    • San Francisco Chronicle
    • 81 Metascore
    • 100 Edward Guthmann
    Boorman enlivens The General with a number of scenes, like that one, that play against the con ventions of crime movies. He and Gleeson, both of whom were denied the Oscar nominations they deserve for this film, do exemplary work and give us one of the liveliest, smartest and most surprising films in a long time.
    • 76 Metascore
    • 75 Edward Guthmann
    A film that, despite its slight intentions, offers several lovely moments.
    • 58 Metascore
    • 50 Edward Guthmann
    The story doesn't quite pay off, characters are underwritten and the surprise ending is contrived and unconvincing.

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