Edward Guthmann

Select another critic »
San Francisco Chronicle
For 526 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 1 point higher than other critics. (0-100 point scale)

Edward Guthmann's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Thieves
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
  1. Positive: 317 out of 526
  2. Mixed: 155 out of 526
  3. Negative: 54 out of 526
526 movie reviews
view
per page
    • 66 Metascore
    • 50 Edward Guthmann
    Strange Days
    Strange Days wants to say something about faith and redemption -- about the importance of maintaining one's humanity in a darkened world. That's a worthy intent, but Bigelow is so enamored of high-tech thrills, and so mesmerized by the violence she seeks to condemn, that her efforts at 11th-hour moralizing seem limp and halfhearted.
    • 66 Metascore
    • 75 Edward Guthmann
    Moulin Rouge!
    A movie so cheeky, aggressive and bursting with vitality that it can't help being annoying and exhilarating at the same time.
    • 66 Metascore
    • 75 Edward Guthmann
    Sommersby
    What sounded like an embarrassing blunder -- the romantic pairing of Richard Gere and Jodie Foster -- turns out to be surprisingly entertaining and persuasive.
    • 66 Metascore
    • 50 Edward Guthmann
    La bûche
    Sweet and insubstantial -- just like the French Christmas cake for which it's named.
    • 65 Metascore
    • 75 Edward Guthmann
    Basquiat
    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.
    • 65 Metascore
    • 50 Edward Guthmann
    Velvet Goldmine
    One can admire it, but it's hard to get caught up in it.
    • 36 Metascore
    • 50 Edward Guthmann
    The Adventures of Rocky & Bullwinkle
    So quick that the flat moments are rapidly, inevitably chased by a new gag.
    • 65 Metascore
    • 50 Edward Guthmann
    Beautiful Girls
    Forget Beautiful Girls. The title ought to be "Jerky, Messed- Up Dudes With Nowhere to Go"
    • 65 Metascore
    • 75 Edward Guthmann
    Dick
    A breezy, occasionally funny spoof.
    • 65 Metascore
    • 75 Edward Guthmann
    The Boys in the Band
    In one sense it's aged surprisingly little -- the language and physical gestures of camp are largely the same -- but in the attitudes of its characters, and their self-lacerating vision of themselves, it belongs to another time. And that's a good thing.
    • 65 Metascore
    • 25 Edward Guthmann
    Crooklyn
    Crooklyn is loud and raucous and occasionally cruel. The actors shout their dialogue, the kids trade insults and the movie has the strained, desperate-for-fun anxiety of a TV sitcom. [13 May 1994, p.C1]
    • San Francisco Chronicle
    • 65 Metascore
    • 75 Edward Guthmann
    Seven
    Placing style above coherence, Seven glosses over plot points and shows a weakness for cheap, lurid effects.
    • 65 Metascore
    • 75 Edward Guthmann
    The Tango Lesson
    Surprisingly, Potter takes what seemed like a recipe for embarrassment and excess and delivers a film that's sweet and understated and devoid of diva posturing.
    • 65 Metascore
    • 50 Edward Guthmann
    Just Another Girl on the I.R.T.
    [Harris's] craft is shaky, and the actors she's assembled, with the exception of Johnson and Ebony Jerido as Chantel's best friend, are one step above Amateur Hour. Just Another Girl looks and feels like a first-time effort. [02 Apr 1993, p.C5]
    • San Francisco Chronicle
    • 64 Metascore
    • 100 Edward Guthmann
    Joe the King
    This is a smart film, told in a minor key, that augurs well for Whaley's directing career.
    • 64 Metascore
    • 75 Edward Guthmann
    The Truth About Cats & Dogs
    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.
    • 64 Metascore
    • 75 Edward Guthmann
    Grateful Dawg
    For music fans, there's great pleasure in hearing new audio tracks to "Sitting Here in Limbo," "Friend of the Devil" and more songs -- each one complete and unedited.
    • 64 Metascore
    • 63 Edward Guthmann
    American Psycho
    Harron validates and largely clarifies the work.
    • 64 Metascore
    • 75 Edward Guthmann
    True Crime
    It's hokey, implausible and packed with red herrings, and yet it's a lot of fun.
    • 64 Metascore
    • 50 Edward Guthmann
    Grass
    Rich with statistics and snazzy visuals, but it ignores those larger questions and, as a result, feels a tad naïve.
    • 64 Metascore
    • 63 Edward Guthmann
    Cradle Will Rock
    Wildly ambitious, unwieldy epic.
    • 64 Metascore
    • 50 Edward Guthmann
    Amistad
    Spielberg uses a more conventional format than he did in the stripped-down black-and-white "Schindler's List,'' and delivers a film that veers between stoic political correctness and mushy pop-Hollywood platitudes.
    • 64 Metascore
    • 50 Edward Guthmann
    The Nutty Professor
    Murphy is wonderful -- I wouldn't begrudge him an Oscar nomination -- but The Nutty Professor is a mess.
    • 63 Metascore
    • 100 Edward Guthmann
    Naked Gun 33 1/3: The Final Insult
    Naked Gun 33 1/3 is a feast of pointless, shamelessly silly, almost consistently funny gags. Another comic gem. [18 Mar 1994, p.C1]
    • San Francisco Chronicle
    • 63 Metascore
    • 100 Edward Guthmann
    Dancer in the Dark
    A thrilling, audacious work.
    • 63 Metascore
    • 100 Edward Guthmann
    Keep the River on Your Right: A Modern Cannibal Tale
    The film underscores the paradox in this man's life: the split between the mild-mannered New Yorker and the fearless vagabond who joined an Arakmbut hunting raid.
    • 63 Metascore
    • 75 Edward Guthmann
    Songcatcher
    Greenwald is fine at creating the texture of early mountain life but loses her footing by embracing several plot points at once.
    • 63 Metascore
    • 100 Edward Guthmann
    Kids
    None of the advance hype on Kids can prepare you for the raw, stripped-down reality that Larry Clark captures in his astonishing first film. Nothing can prepare you, because no other film has ever caught the recklessness, sweat and tingly heat of teenage sexuality so effectively.
    • 38 Metascore
    • 50 Edward Guthmann
    The Wolves of Kromer
    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.
    • 63 Metascore
    • 75 Edward Guthmann
    The Way Home
    A sweet, unabashedly sentimental tale.
Page:

Top Trailers

See all »
See all trailers »