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.
    • 57 Metascore
    • 50 Graeme Guttmann
    Little Death
    Little Death is two vignettes — one more compelling than the other – that only loosely come together.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 56 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.
    • 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
    • 30 Graeme Guttmann
    Adulthood
    By the time the film turns off autopilot, it's far too late, and the ending lands with the dull thud of a long-rotted body wrapped in an old rug.
    • tbd Metascore
    • 30 Graeme Guttmann
    Neon Lights
    The film is unsure if wants to be a portrait of a man on the verge, a slasher, or a psychological chamber piece, and it ultimately fails to live up to any of these ideas.
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