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
    • 50 Edward Guthmann
    Gas Food Lodging
    Apart from its cast, however, Gas Food Lodging doesn't have a lot to recommend it. This is true: It's earnest, the milieu it establishes feels authentic, and the three actresses work hard at giving their characters a life...But Anders' inexperience at writing and directing shows. She overloads her film with too many subplots, and consequently loses whatever steam she manages to build up. She introduces too many secondary characters -- two suitors for Nora, one ex-husband, and two boyfriends apiece for each daughter -- but never develops any of them adequately. [9 Sept 1992, p.E3]
    • San Francisco Chronicle
    • 73 Metascore
    • 75 Edward Guthmann
    Behind the Sun
    A powerful allegory.
    • 60 Metascore
    • 50 Edward Guthmann
    The Debut
    A melodramatic yarn that transcends some of its technical and storytelling flaws through the cheery energy and sincerity of its cast.
    • 80 Metascore
    • 100 Edward Guthmann
    Central Station
    Fernanda Montenegro gives a landmark performance.
    • 81 Metascore
    • 75 Edward Guthmann
    Happiness
    The aftertaste of that father-son scene is so strong, so disturbing, that the riches of Happiness -- its writing, its performances, its trenchant wit -- all seem a bit diminished in the bargain.
    • 69 Metascore
    • 100 Edward Guthmann
    The Cuckoo
    Gorgeous and optimistic.
    • 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.
    • 60 Metascore
    • 50 Edward Guthmann
    Signs & Wonders
    Nossiter's premise is good, and he intrigues us with stylish conceits, but he makes a crucial casting error. Alec ought to be someone we care about.
    • 48 Metascore
    • 50 Edward Guthmann
    Orgazmo
    Cheerfully raunchy and undeserving of its prohibitive NC-17 rating, Orgazmo is a harmless sex farce.
    • 90 Metascore
    • 100 Edward Guthmann
    My Voyage to Italy
    A great experience, precisely because it's so intimate and unguarded.
    • 49 Metascore
    • 50 Edward Guthmann
    Made in America
    Made in America, for the most part, is surprisingly inept -- badly shot, badly lit and badly edited. It's the actors alone, Danson especially, who save it from total disaster. [28 May 1993, p.C1]
    • San Francisco Chronicle
    • 78 Metascore
    • 100 Edward Guthmann
    Hilary and Jackie
    Emily Watson is ravishingly good -- and brings an amazing focus and intensity to what could have been a disease-of-the-week picture.
    • 55 Metascore
    • 75 Edward Guthmann
    The Acid House
    A blast of manic energy in the form of a film.
    • 58 Metascore
    • 50 Edward Guthmann
    The Grey Zone
    Nelson's work is relentless, grueling and courageous. He makes a large blunder in having American actors (David Arquette, Steve Buscemi) play Hungarian Jews with American accents, while Harvey Keitel plays a Nazi officer with a German accent.
    • 67 Metascore
    • 100 Edward Guthmann
    Guinevere
    Disarms with its sincerity and frankness.
    • 68 Metascore
    • 75 Edward Guthmann
    Chopper
    It's Eric Bana, a popular Australian stand-up comic, who justifies our interest with a dazzling performance of blunt humor, unpredictability and an edge of menace.
    • 84 Metascore
    • 75 Edward Guthmann
    The Man Without a Past
    A master of minimalism, Finland's Aki Kaurismaki makes films that are so dry, so delicately ironic that they seem on the verge of crumbling in front of us -- but they never do.
    • 60 Metascore
    • 50 Edward Guthmann
    Gangster No. 1
    We're left with a metallic aftertaste.
    • 71 Metascore
    • 50 Edward Guthmann
    The Big Lebowski
    Although some of its parts are brilliantly executed and played by a terrific cast, the result is scattered, overamplified and unsatisfying.
    • 85 Metascore
    • 75 Edward Guthmann
    Walkabout
    A strange, vivid tale of two British schoolchildren stranded in the deserts of the outback.
    • 34 Metascore
    • 25 Edward Guthmann
    The Glass House
    This is trash on a big budget, but trash nonetheless.
    • 93 Metascore
    • 100 Edward Guthmann
    Werckmeister Harmonies
    An indelible statement on loneliness and spiritual thirst.
    • 79 Metascore
    • 100 Edward Guthmann
    Thieves
    Coming on the heels of Ma Saison Preferee, Thieves suggests that Techine is filling the void left by the deaths of Truffaut and Louis Malle, and ought to be considered his country's finest humanist filmmaker.
    • 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.
    • 60 Metascore
    • 100 Edward Guthmann
    Everybody's Famous!
    The result is a sprightly, entertaining film, but one in which the satire is neutralized for laughs.
    • 85 Metascore
    • 100 Edward Guthmann
    Grisbi (re-release)
    The magic here is all in the telling: in the graceful, laconic direction of Jacques Becker.
    • 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
    • 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
    • 78 Metascore
    • 75 Edward Guthmann
    Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr.
    (Morris's) strangest and most disturbing portrait yet.
    • 71 Metascore
    • 75 Edward Guthmann
    What Happened Was...
    What Happened Was . . . isn't always easy to watch. Like a Beckett play, it doesn't spare its characters, but strips bare their insecurities, their fear of rejection, their essential isolation and foolishness. [07 Oct 1994, p.C3]
    • San Francisco Chronicle
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