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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    • 78 Metascore
    • 75 Edward Guthmann
    Jungle Fever
    Despite the weakness of Sciorra's character, and the lack of development in her relationship with Snipes, Jungle Fever is a fascinating movie -- consistently provocative, brilliantly acted and written, in most cases, with a number of moments that transcend anything you've seen this year in their wit, sexual heat and emotional intensity. [7 June 1991, p.E1]
    • San Francisco Chronicle
    • 65 Metascore
    • 50 Edward Guthmann
    Beautiful Girls
    Forget Beautiful Girls. The title ought to be "Jerky, Messed- Up Dudes With Nowhere to Go"
    • 78 Metascore
    • 75 Edward Guthmann
    Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr.
    (Morris's) strangest and most disturbing portrait yet.
    • 78 Metascore
    • 50 Edward Guthmann
    Apollo 13
    I just wish that "Apollo 13" worked better as a movie, and that Howard's threshold for corn, mush and twinkly sentiment weren't so darn wide.
    • 77 Metascore
    • 75 Edward Guthmann
    Our Song
    The movie's soul isn't its plot but the relationships among the girls.
    • 77 Metascore
    • 75 Edward Guthmann
    Shanghai Triad
    It's a strong film, but apart from its stunning images, it doesn't linger in your mind's eye the way you would like it to.
    • 77 Metascore
    • 75 Edward Guthmann
    Once Were Warriors
    A movie that's lean, unsentimental and hard around the edges -- a gut- grabber that stays with you for days afterward.
    • 77 Metascore
    • 75 Edward Guthmann
    Humanité
    Humanite isn't like any other film: It's uncompromising, eerily affecting and wildly unresolved.
    • 69 Metascore
    • 50 Edward Guthmann
    A League of Their Own
    A serious weakness for corn isn't Marshall's only problem. She's got a gift for comedy and she brings out the best in many actors, but she's juggling too many elements here -- baseball, a huge cast, a 1940s milieu -- and never finds a consistently satisfying tone or rhythm. [1 July 1992, p.E1]
    • San Francisco Chronicle
    • 77 Metascore
    • 75 Edward Guthmann
    Ruby in Paradise
    It's a sensational part for a young actress -- the film is told entirely from her point of view, using her journal entries as voice-over narration -- and Judd, in her first film, gives a subtle, delicate performance. [05 Nov 1993, p.C12]
    • San Francisco Chronicle
    • 53 Metascore
    • 75 Edward Guthmann
    The Hudsucker Proxy
    The Hudsucker Proxy is the Coens' fifth feature in a decade, and you can see their tremendous artistic growth in every frame of the film. Classically composed, beautifully shot by Roger Deakins ("Barton Fink") and co-produced by legendary action-flick producer Joel Silver, Hudsucker has technique and visual invention to spare. [11 Mar 1994, p.C3]
    • San Francisco Chronicle
    • 77 Metascore
    • 100 Edward Guthmann
    Daughter from Danang
    Superb documentary.
    • 76 Metascore
    • 75 Edward Guthmann
    Career Girls
    A film that, despite its slight intentions, offers several lovely moments.
    • 76 Metascore
    • 75 Edward Guthmann
    Rosetta
    The film's loose, scaled-down technique never turns gimmicky...but enhances the tension and intimacy of Rosetta's struggle.
    • 76 Metascore
    • 75 Edward Guthmann
    Heavy
    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.
    • 70 Metascore
    • 75 Edward Guthmann
    Warm Water Under a Red Bridge
    One never knows where "Warm Water" is going and even though the film's objective feels a little fuzzy even at the end a parable on female sexuality? an ode to liberty? there's such a joy in the telling that it doesn't matter terribly.
    • 71 Metascore
    • 75 Edward Guthmann
    A Perfect World
    Costner and Lowther are a winning pair, and Eastwood, an elegant director, takes his time telling the story, seasoning it with frequent humor and avoiding the logistics of the manhunt. [24 Nov 1993, p.E1]
    • San Francisco Chronicle
    • 76 Metascore
    • 50 Edward Guthmann
    Dogtown and Z-Boys
    Exhilarating but blatantly biased.
    • 76 Metascore
    • 75 Edward Guthmann
    Dave
    I liked Dave -- bits and pieces of it, that is -- but I think it would have worked better as a dark and fearless farce -- reckless, nervy, a little bit mean. American politics deserve it. [07 May 1993, p.C1]
    • San Francisco Chronicle
    • 76 Metascore
    • 75 Edward Guthmann
    Chuck & Buck
    It becomes stronger and more honest than most character studies on film.
    • 76 Metascore
    • 75 Edward Guthmann
    Heat
    It's a monster of a movie, and it gets unwieldy.
    • 76 Metascore
    • 75 Edward Guthmann
    What's Love Got to Do with It
    What's Love Got to Do With It isn't the best musical biography of all time, but it's an unusually satisfying one, and a tremendous showcase for the splendid Bassett. [11 Jun 1993, p.C1]
    • San Francisco Chronicle
    • 76 Metascore
    • 75 Edward Guthmann
    Bay of Angels
    Great pleasures.
    • 76 Metascore
    • 75 Edward Guthmann
    Safe
    For all its flaws and vagueness, Safe is smart, challenging and provocative -- a film that gives you plenty to chew on, long after Carol's sad tale has wound down.
    • 76 Metascore
    • 100 Edward Guthmann
    Iris
    Splendid.
    • 76 Metascore
    • 50 Edward Guthmann
    Mother
    Mother is a relationship comedy, like Woody Allen's films, and it screams for the smart, elastic pacing that Allen creates. The situations are funny -- 40- year-old John moves into his old bedroom, goes shopping with Mother, is shocked that she has a boyfriend and occasionally curses and smokes -- but his poor timing flattens most of those scenes.
    • 76 Metascore
    • 75 Edward Guthmann
    Cyclo
    Violent, disjunctive and exhausting, it's a dark fable that illustrates with startling images the strong, seductive pull of evil.
    • 75 Metascore
    • 75 Edward Guthmann
    Power Trip
    Devlin tells his story without bias but with shards of gallows humor.
    • 75 Metascore
    • 75 Edward Guthmann
    The Flower of My Secret
    It's a witty, intelligent scramble, and it's beautifully mounted.
    • 75 Metascore
    • 100 Edward Guthmann
    The Crucible
    Director Nicholas Hytner doesn't soften or cosmeticize Miller's tale -- it's often uncomfortable to watch -- and he draws an emotional pitch from his actors that helps us understand the mob fury and irrational fear that make a situation like the one in Salem possible.
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