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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    • 100 Metascore
    • 100 Edward Guthmann
    The Godfather
    In scene after scene -- the long wedding sequence, John Marley's bloody discovery in his bed, Pacino nervously smoothing down his hair before a restaurant massacre, the godfather's collapse in a garden -- Coppola crafted an enduring, undisputed masterpiece. [21 Mar 1997, Daily Datebook, p.C3]
    • 100 Metascore
    • 100 Edward Guthmann
    Three Colors: Red
    Red is the best of the lot: warmer, more accessible, unusually generous toward its characters. A mystical tale of chance encounters and unexpected connections, Red uses a traffic accident as a springboard to discovery.
    • 97 Metascore
    • 100 Edward Guthmann
    The Night of the Hunter
    Part fairy tale and part bogeyman thriller -- a juicy allegory of evil, greed and innocence, told with an eerie visual poetry.
    • 97 Metascore
    • 100 Edward Guthmann
    Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    Cool, chiseled and savagely funny, Kubrick's cautionary doomsday farce never ages but gets more relevant with time. [12 March 1999, p.D15]
    • San Francisco Chronicle
    • 95 Metascore
    • 100 Edward Guthmann
    Don't Look Now
    A haunting, beautiful labyrinth that gets inside your bones and stays there.
    • 94 Metascore
    • 100 Edward Guthmann
    Yi Yi
    Wise, delicate and impeccably performed, Yi Yi is a three- hour drama that looks at one middle-class family in transition -- and does so with such a kind and probing eye that we all see our lives reflected through Yang's lens.
    • 45 Metascore
    • 50 Edward Guthmann
    Jefferson in Paris
    Jefferson in Paris is dull, sluggish and unfocused.
    • 94 Metascore
    • 100 Edward Guthmann
    Stop Making Sense
    Has there ever been a live concert film as vibrant or as brilliantly realized? I don't think so. [Review of re-release]
    • 94 Metascore
    • 100 Edward Guthmann
    Days of Heaven
    Days of Heaven is a visual poem. Slow and elegant, reverential in the way it celebrates the earth's contours and the play of light. [27 Oct. 1999, p.B3]
    • San Francisco Chronicle
    • 93 Metascore
    • 100 Edward Guthmann
    Werckmeister Harmonies
    An indelible statement on loneliness and spiritual thirst.
    • 93 Metascore
    • 100 Edward Guthmann
    Crumb
    Crumb is one of the most provocative, haunting documentaries of the last decade.
    • 92 Metascore
    • 100 Edward Guthmann
    Secrets & Lies
    Leigh goes right to the core of his character's lives and mines the place where we're weakest, most alone and sometimes the cruelest.
    • 92 Metascore
    • 100 Edward Guthmann
    Maborosi
    Kore-eda weaves these images and others, building a multilayered fugue that contemplates death, asks if mourning ever truly ends and addresses the ephemeral nature of love, family and home. Everything we value and use to define and frame our lives, he suggests, is always at risk.
    • 92 Metascore
    • 75 Edward Guthmann
    Apocalypse Now Redux
    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.
    • 91 Metascore
    • 100 Edward Guthmann
    Lost in Translation
    A delicate, beautifully observed study of impossible romance, Lost in Translation is one of the best films this year.
    • 91 Metascore
    • 75 Edward Guthmann
    After Life
    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.
    • 91 Metascore
    • 100 Edward Guthmann
    I Am Cuba
    Photographed in lush black and white by Sergei Urusevsky, who worked with the amazingly inventive camera operator Alexander Calzatti, "I Am Cuba" unfolds like a cinematic Olympics of complex, acrobatic camera moves.
    • 91 Metascore
    • 100 Edward Guthmann
    Repulsion (re-release)
    The cruelty of his methods aside -- and Polanski wasn't the first director to terrorize an actor for the sake of a performance -- Repulsion is a frightening, fiercely entertaining experience that holds up to time. (Review of May 1998 revival)
    • 91 Metascore
    • 100 Edward Guthmann
    The Sweet Hereafter
    Egoyan's voice is so clear and loving, his vision so forgiving and his film so intelligent that you come away refreshed.
    • 90 Metascore
    • 75 Edward Guthmann
    Le Samouraï
    Le Samourai is beautifully assured and has a strong consistency of visual style and tone, but I can't say I had a great time watching it.
    • 90 Metascore
    • 100 Edward Guthmann
    Bloody Sunday
    A great achievement: tense and passionate, a film that one feels not just emotionally but also physically.
    • 90 Metascore
    • 100 Edward Guthmann
    My Voyage to Italy
    A great experience, precisely because it's so intimate and unguarded.
    • 90 Metascore
    • 88 Edward Guthmann
    Being John Malkovich
    It's tremendously entertaining, and probably worthy of repeat viewings.
    • 90 Metascore
    • 50 Edward Guthmann
    Almost Famous
    A sweet but curiously unfulfilling story.
    • 90 Metascore
    • 100 Edward Guthmann
    The Truman Show
    An original, inspired piece of work.
    • 90 Metascore
    • 100 Edward Guthmann
    Capturing the Friedmans
    A superb documentary.
    • 89 Metascore
    • 100 Edward Guthmann
    The Piano
    Magical and haunting, The Piano has the power and delicate mystery of a gothic fairy tale. [19 Nov 1993]
    • San Francisco Chronicle
    • 88 Metascore
    • 100 Edward Guthmann
    4 Little Girls
    4 Little Girls brilliantly captures a moment in American history and tells an achingly painful story of injustice and family loss.
    • 69 Metascore
    • 100 Edward Guthmann
    Small Time Crooks
    A delicious comedy that starts out promisingly as a pleasant gag comedy but then turns unexpectedly into a bright social satire.
    • 87 Metascore
    • 75 Edward Guthmann
    Little Women
    Meticulously crafted, and warmly acted by a cast that includes Winona Ryder as Jo and Susan Sarandon as her mother, the devoted Marmee, Little Women is one of the rare Hollywood studio films that invites your attention, slowly and elegantly, rather than propelling your interest with effects and easy manipulation.
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