Graeme Guttmann

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Screen Rant
For 119 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 1.2 points higher than other critics. (0-100 point scale)

Graeme Guttmann's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Sentimental Value
Lowest review score: 30 Neon Lights
Score distribution:
  1. Positive: 70 out of 119
  2. Mixed: 47 out of 119
  3. Negative: 2 out of 119
119 movie reviews
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    • 63 Metascore
    • 50 Graeme Guttmann
    Faces of Death
    Margot knows the dangers of social media – her backstory has shades of cliché, but it's still effective in pushing her down the rabbit hole that her coworkers' superficiality precludes them from exploring. That investigation involves a string of missing persons and a killer obsessed with the dark corners of the internet. The biggest issue with Faces of Death, though, is that it's just not all that dark down there.
    • 49 Metascore
    • 50 Graeme Guttmann
    Reminders of Him
    Unfortunately, Reminders of Him isn't a very good film, at least in the traditional sense. But, like Regretting You, there's a certain level of lizard brain enjoyment that transcends much of the film's flaws and allows for all the soapy, melodramatic elements to be enjoyed at their own level.
    • 63 Metascore
    • 60 Graeme Guttmann
    Heel
    Thankfully, Boon, Graham, and Riseborough do enough to anchor the film and bring it home as it lands on a strangely poignant note both chilling and endearing.
    • 67 Metascore
    • 60 Graeme Guttmann
    The Dutchman
    With Holland and Mara, the commitment to The Dutchman is apparent and though its ending feels as if things are wrapped up a bit too cleanly, the film succeeds in being an unnerving odyssey over one New York night.
    • 61 Metascore
    • 60 Graeme Guttmann
    Black Phone 2
    Black Phone 2 is still a solid horror film, with gory kills and exciting set pieces. But the question of why still lingers over the film, even as it delivers on its many promises.
    • 55 Metascore
    • 40 Graeme Guttmann
    Shell
    Shell is funny and nice to look at it, but it lacks the depth or the darkness that it needs.
    • 65 Metascore
    • 40 Graeme Guttmann
    The Smashing Machine
    Its best moments aren't in the octagon — they're in the quiet moments when Johnson's Kerr is talking to an interviewer backstage or when Dawn and Mark are exchanging barbs in between affections in their cozy Arizona home.
    • 55 Metascore
    • 40 Graeme Guttmann
    The Wizard of the Kremlin
    Just when it feels like it's going to hit the gas, The Wizard of the Kremlin holds back, all the way up to its confounding, out-of-left-field ending that is both abrupt and fittingly bleak.
    • 41 Metascore
    • 50 Graeme Guttmann
    Leave One Day
    The beauty of a musical isn't just in the songs themselves, but the feelings they leave us with as we exit the theater. Leave One Day opts for a cheerier disposition that undermines staying power beyond its infectious tunes.
    • 65 Metascore
    • 60 Graeme Guttmann
    Eddington
    At times, it can be bitterly hysterical, with Aster, who also wrote the film, further flexing his comedic muscles after his previous film with Phoenix. On the other hand, Eddington can be almost too on-the-nose, knicking the surface of complex issues but pulling the blade away before it can really draw blood.
    • 70 Metascore
    • 60 Graeme Guttmann
    The Phoenician Scheme
    For all The Phoenician Scheme's eccentric thrills, sardonic performances, and globe-trotting adventure, the film still feels limited in the grand scheme of things.
    • 90 Metascore
    • 60 Graeme Guttmann
    Sound of Falling
    I imagine that Sound of Falling will reward repeat viewings. There's almost too much to take in upon first glance, decades of life condensed into two and a half hours. Schilinski's vision is so confident and so bracing that it's hard not to be arrested by what's happening onscreen, even if you're not sure what's going on.
    • 73 Metascore
    • 60 Graeme Guttmann
    Good Boy
    With its brisk runtime, the film wastes no time and, though it plays into genre tropes often, its premise is enough to make this film a compelling watch. The film ends up being surprisingly emotional thanks to its protagonist, though its lack of characterization of its human counterparts hurts the film's climax just a bit.
    • 55 Metascore
    • 60 Graeme Guttmann
    Bunnylovr
    Despite some of Bunnylovr's shortcomings, Zhu has a knack for filmmaking, and it's an exciting debut for the young artist.
    • 76 Metascore
    • 50 Graeme Guttmann
    September 5
    It's a riveting film, but one that left me feeling hollow and ultimately frustrated with the continued way in which much of American cinema tackles crises like the one at the center of September 5.
    • 40 Metascore
    • 60 Graeme Guttmann
    Without Blood
    Despite sturdy performances, Without Blood doesn’t fully come together.
    • 65 Metascore
    • 60 Graeme Guttmann
    The End
    The End is a challenging film and the rewards may be minimal, but that it exists at all is a miracle itself.
    • tbd Metascore
    • 40 Graeme Guttmann
    Beacon
    The script is caught between wanting to be a full-blown horror movie and wanting to be a tense psychological thriller.
    • 54 Metascore
    • 50 Graeme Guttmann
    Psycho Therapy: The Shallow Tale of a Writer Who Decided to Write About a Serial Killer
    Despite finding a sweet spot, The Shallow Tale of a Writer Who Decided to Write About a Serial Killer falters as a whole. Buscemi, Magaro, and Lower give great performances, but it does little to fill in the gaps of the story.
    • 44 Metascore
    • 50 Graeme Guttmann
    Treasure
    There are great moments in the quiet of Treasure, the scenes where director Julia von Heinz's camera lingers on a look, an item, or a landscape. But Treasure finds itself stuck in the middle of these tender moments and a heavy-handed way with emotion that has good intentions but doesn't land the same.
    • 68 Metascore
    • 60 Graeme Guttmann
    In a Violent Nature
    Writer and director Chris Nash's In A Violent Nature may be the first slasher in a long time to truly deconstruct the genre in a way that feels surprising, even if the results of its experiment are mixed.
    • 57 Metascore
    • 50 Graeme Guttmann
    Little Death
    Little Death is two vignettes — one more compelling than the other – that only loosely come together.
    • 62 Metascore
    • 60 Graeme Guttmann
    Stress Positions
    It's unclear if Stress Positions has arrived "too soon" but its proximity to the pandemic doesn't make it any less hysterical, even if it's hollow in other areas.
    • 64 Metascore
    • 60 Graeme Guttmann
    Napoleon
    It's a bold swing from the director and, despite it being tonally uneven and a bit messy, Napoleon can be still quite fun.
    • 62 Metascore
    • 60 Graeme Guttmann
    Red White & Royal Blue
    While Red, White & Royal Blue is a little too light on laughs, its central romance follows the book closely enough that die-hard fans will be pleased and casual viewers will be able to find something to love.
    • 52 Metascore
    • 40 Graeme Guttmann
    Run Rabbit Run
    Unfortunately, Run Rabbit Run is less than the sum of its parts, and even an excellent turn from Sarah Snook can't elevate the movie beyond its basest instincts.
    • 42 Metascore
    • 50 Graeme Guttmann
    Transformers: Rise of the Beasts
    There are a few bright spots in Rise of the Beasts, but these are largely overshadowed by a lot of generic parts that would not be out of place in any of the previous six Transformers movies.
    • 63 Metascore
    • 50 Graeme Guttmann
    Master Gardener
    While Schrader's directing and the casts' performances are more than up to standard, Master Gardener somehow ends up being less than the sum of its parts.
    • 75 Metascore
    • 60 Graeme Guttmann
    Monica
    The narrative of Monica is scant, but this makes way for a poignant examination of trans identity and loneliness through the lens of one family.
    • 78 Metascore
    • 50 Graeme Guttmann
    BlackBerry
    It's full of fast-talking tech nerds and morally compromised corporate A-holes, it bites off a bit more than it can chew in telling the story of Research in Motion, but it's still a good time, reminiscent of mid-budget dramedies that have all but disappeared in recent years.
    • 78 Metascore
    • 60 Graeme Guttmann
    The Eight Mountains
    It's a film that sneaks up on its audience, revealing layers to friendship and other intimate relationships that otherwise would not be parsed through if there wasn't the time.
    • 69 Metascore
    • 60 Graeme Guttmann
    Evil Dead Rise
    While it doesn't quite reach the horrific highs of the 2013 remake, it rips through other splatter-fests with the finesse of a freshly whetted chainsaw blade.
    • 61 Metascore
    • 50 Graeme Guttmann
    Tetris
    Tetris is a serviceable adaptation, but for all its visual flair and 80s nostalgia, there's still something missing when all the pieces come together.
    • 65 Metascore
    • 60 Graeme Guttmann
    Sharper
    For all its shortcomings, Sharper manages to pull together all of its cons with a finesse that could have easily been bungled in less capable hands. Even if it fails at its greatest con of all — pulling one over on audiences — it still manages to be a taut thriller that feels fully realized.
    • 76 Metascore
    • 60 Graeme Guttmann
    Corsage
    Part revisionist history, part unconventional character study, Corsage is carried by Vicky Krieps' brilliant performance and its willingness to buck genre conventions in favor of a dark and dreamy fairy tale.
    • 65 Metascore
    • 50 Graeme Guttmann
    Stars at Noon
    Hiding within Stars at Noon is a lean erotic thriller, one where the lack of chemistry between Alwyn and Qualley can be overlooked both because of Denis' directing and the standalone performances of its cast. Unfortunately, the film gets bogged down by pacing issues, hoping to coast on the chemistry of Qualley and Alwyn, but runs out of gas long before danger starts to creep in just past the hour mark.
    • 39 Metascore
    • 40 Graeme Guttmann
    The Visitor
    As much as it tries to be a mash-up of several genres, it would've been much better had it picked one lane and leaned into it.
    • 48 Metascore
    • 50 Graeme Guttmann
    The Retaliators
    As a piece of horror, the film is certainly effective, achieving a kind of discomforting aura that is sometimes missing from the too-polished genre fare released all-too-frequently.
    • 38 Metascore
    • 40 Graeme Guttmann
    Pinocchio
    It needed something to make it feel fresh beyond dazzling visuals, but by stripping away much of what made the first film great, Pinocchio feels like the same old story, even if its fantastical elements shine onscreen.
    • tbd Metascore
    • 50 Graeme Guttmann
    Squeal
    It never digs deep enough which, when looked at through the fairy tale lens, is appropriate, but ultimately seems like a missed opportunity for the film.
    • 45 Metascore
    • 40 Graeme Guttmann
    Samaritan
    In the end, Samaritan commits a cardinal sin of the superhero genre: It thinks a high-profile actor with vaguely defined superpowers is enough to make the film interesting when it clearly needs something more.
    • 62 Metascore
    • 40 Graeme Guttmann
    Fall
    With predictable twists and one grating character, the Lionsgate movie tries to do something different from others like it, but it can't quite reach the heights that its main characters aren't (and should be) afraid of.
    • 48 Metascore
    • 60 Graeme Guttmann
    Luck
    Luck may not reinvent the wheel — at this point, what can? — but it does what films like this do best, bringing forth a message about family and perseverance with humor, heart, and a lot of magic.
    • 78 Metascore
    • 60 Graeme Guttmann
    A Love Song
    What A Love Song lacks in execution it more than makes up for in stellar performances and beautifully directed scenes.
    • 65 Metascore
    • 60 Graeme Guttmann
    Glasshouse
    The sense of timelessness and the sanctuary (itself a bubble made to burst) add a listlessness to the film that only underscores the constant shifting of the family's foundation. Glasshouse may build to a climax that many can see coming, but that's beside the point. The conclusion plays off what has come before it, feeling like a memory that could have easily been forgotten.
    • 68 Metascore
    • 60 Graeme Guttmann
    Poser
    While it ultimately reveals everything too late, the film still feels fresh and, unlike plenty of what is released today (on podcasts and in theaters), actually does have something to say.
    • tbd Metascore
    • 50 Graeme Guttmann
    My Fake Boyfriend
    There's something comforting about the way in which My Fake Boyfriend doesn't try to reinvent the wheel. It's content living in its charming version of New York where everything works out in the end.

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