Edward Guthmann

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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
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    • 48 Metascore
    • 50 Edward Guthmann
    The Baby-Sitters Club
    Mayron, who directed a remake of the Disney comedy Freaky Friday for TV, took on a lot with The Baby-Sitters Club, and the strain shows. She's got too many characters to establish -- several adults besides the girls -- and her movie feels under-rehearsed, as if she hadn't been given the benefit of preparation and wasn't allowed to get as many takes as she needed of most scenes.
    • 48 Metascore
    • 75 Edward Guthmann
    The Fantasticks
    Has slow patches and requires a generous suspension of disbelief. But it's also sweet and optimistic -- a welcome antidote to gloom.
    • 48 Metascore
    • 50 Edward Guthmann
    Orgazmo
    Cheerfully raunchy and undeserving of its prohibitive NC-17 rating, Orgazmo is a harmless sex farce.
    • 48 Metascore
    • 50 Edward Guthmann
    The Doom Generation
    It makes you wonder when Araki is going to find something else to think about.
    • 48 Metascore
    • 75 Edward Guthmann
    Kiss Me, Guido
    It's a bouncy, occasionally awkward diversion with sharply written characters and good actors.
    • 47 Metascore
    • 50 Edward Guthmann
    Regarding Henry
    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
    • 47 Metascore
    • 50 Edward Guthmann
    Heartbreakers
    Lacks the kind of rhythm and snap to make it work -- and allows this fitfully entertaining romp to dribble on way too long.
    • 47 Metascore
    • 50 Edward Guthmann
    Oscar
    As dreary as Oscar is for the majority of its 110 minutes, the movie sings whenever Shearer and Ferrero are on screen. [26 Apr 1991, p.E1]
    • San Francisco Chronicle
    • 47 Metascore
    • 50 Edward Guthmann
    Daylight
    What Daylight lacks is the knowledge of its own limitations. The only really hysterical line is delivered by Sly's son, Sage Stallone, who plays one of three young prisoners also stuck in the tunnel...Surrounded by rubble and rising water, he gazes longingly at the 14-year-old Harris and says, "If we don't die in here, I was wondering if I could give you a call. . . ."
    • 47 Metascore
    • 50 Edward Guthmann
    From the Edge of the City
    Gratuitous, yes, but Giannaris has the visual finesse to make it work.
    • 47 Metascore
    • 75 Edward Guthmann
    Psycho
    Norman Bates is alive and well, and just a tad kinkier than you remember him.
    • 47 Metascore
    • 75 Edward Guthmann
    Only the Lonely
    Despite its implausibilities, Only the Lonely disarms you with its innocence. [24 May 1991, p.E1]
    • San Francisco Chronicle
    • 46 Metascore
    • 25 Edward Guthmann
    The Thing Called Love
    The Thing Called Love should have been a nice, middle-key romance, with a few gentle digs at Nashville's fevered, wildly competitive country-music scene. Instead, it's a hapless, well-intentioned mess -- running in half a dozen directions at once, looking half-planned and semi-improvised, and featuring a skittish, overly mannered performance by Phoenix. [16 March 1994, p.E1]
    • San Francisco Chronicle
    • 46 Metascore
    • 50 Edward Guthmann
    Miss Julie
    An arid, uninvolving film that suffers from Burrows' miscasting as the vain Julie.
    • 46 Metascore
    • 50 Edward Guthmann
    Deliver Us from Eva
    A not-insubstantial comedy.
    • 46 Metascore
    • 25 Edward Guthmann
    Ravenous
    In concept alone, Ravenous is anything but appetizing, but in execution it's worse than you'd imagine.
    • 46 Metascore
    • 50 Edward Guthmann
    Kafka
    It sounds promising, but it doesn't work. You get the feeling that Soderbergh, so early in his directing career, has exceeded his reach -- that the com- plicated logistics of making a film on location in eastern Europe, compounded with the challenge of bringing to life such a fundamentally lonely and passive figure, had stymied him. [17 Jan. 1992, p.D1]
    • San Francisco Chronicle
    • 46 Metascore
    • 75 Edward Guthmann
    Dangerous Minds
    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.
    • 46 Metascore
    • 50 Edward Guthmann
    The Basketball Diaries
    Basketball Diaries is an earnest, botched effort to do justice to Carroll's book. Amazingly, though, even with Kalvert's lack of style and vision, the greatness of DiCaprio's performance is undiminished.
    • 46 Metascore
    • 75 Edward Guthmann
    The Crossing Guard
    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.
    • 46 Metascore
    • 75 Edward Guthmann
    Blue Streak
    Apart from Lawrence's goofing, Blue Streak isn't much of a movie.
    • 45 Metascore
    • 50 Edward Guthmann
    The Deep End of the Ocean
    It's a classy but downbeat spin on the most familiar of TV-movie formulas.
    • 45 Metascore
    • 50 Edward Guthmann
    Jefferson in Paris
    Jefferson in Paris is dull, sluggish and unfocused.
    • 45 Metascore
    • 50 Edward Guthmann
    It Takes Two
    The Olsens' precociousness and sitcom-style mugging grate at first, but I found myself warming to their movie in its last half - thanks mostly to Alley, a crackerjack physical comic who's incapable of a flat or colorless note.
    • 45 Metascore
    • 25 Edward Guthmann
    The Distinguished Gentleman
    The Distinguished Gentleman isn't much of a movie - it's a mess, in fact. [04 Dec 1992]
    • San Francisco Chronicle
    • 45 Metascore
    • 50 Edward Guthmann
    Vanilla Sky
    The film's aim -- to dazzle and inspire -- is sapped by Cruise's vein-popping, running-the-marathon performance.
    • 45 Metascore
    • 50 Edward Guthmann
    Mean Machine
    Takes a long time getting started and doesn't hit its stride until Danny starts coaching a team of fellow cons -- think "Bad News Bears," just nastier.
    • 44 Metascore
    • 25 Edward Guthmann
    Girl 6
    Girl 6 is glossy, technically proficient and a glib waste of time. Lee and his screenwriter goof around with phone-sex rhetoric ("I wanna service your juicy kielbasa''), but that gets tired quickly.
    • 44 Metascore
    • 25 Edward Guthmann
    The Caveman's Valentine
    A wildly implausible thriller.
    • 44 Metascore
    • 25 Edward Guthmann
    America's Sweethearts
    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.
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