Owen Gleiberman
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For 2,346 reviews, this critic has graded:
  • 67% higher than the average critic
  • 2% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 6.3 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Blue Jasmine
Lowest review score: 0 Running Free
Score distribution:
2,346 movie reviews
    • 67 Metascore
    • 33 Owen Gleiberman
    I gave up making heads or tails of Synecdoche, New York, but I did get one message: The compulsion to stand outside of one's life and observe it to THIS degree isn't the mechanism of art -- it's the structure of psychosis.
    • 42 Metascore
    • 33 Owen Gleiberman
    Orphan isn't scary -- it's garish and plodding.
    • 41 Metascore
    • 33 Owen Gleiberman
    If you want to know how inept the movie is...well, it's so inept that you may wish you were watching an M. Night Shyamalan version of the very same premise.
    • 31 Metascore
    • 33 Owen Gleiberman
    Adam Sandler stars in a one-joke Caddyshack for the blitzed and jaded.
    • 30 Metascore
    • 33 Owen Gleiberman
    A yawn-by-numbers romper-room dud.
    • 33 Metascore
    • 33 Owen Gleiberman
    Most of The Man is as awful as last year's debacle, "Taxi," yet Levy, stuck in a no-brainer variation on Billy Crystal's predicament in "Analyze This," shows just enough noodgy passive-aggression to suggest what the movie might have been were it not shackled to buddy-action clichés.
    • 27 Metascore
    • 33 Owen Gleiberman
    Asia Argento is not what I would call a good actress, but she's a prime specimen of train-wreck sexuality: a debauched Eurotrash starlet who oozes punk cred more than she does talent. It's not too hard to see why she wanted to write, direct, and star in The Heart Is Deceitful Above All Things.
    • 55 Metascore
    • 33 Owen Gleiberman
    Antonio Banderas is a charming and talented man, but in Take the Lead he lays on the old-world panache so thick - the accent, the flowery courtliness, the romance of romance - that he comes off like Dracula's metrosexual cousin.
    • 30 Metascore
    • 33 Owen Gleiberman
    A few of the images are startling, but as Radha Mitchell (a good actress) wanders through a ghost town, searching for her lost daughter as though she was touring an abandoned movie set, Silent Hill is mostly paralyzing in its vagueness.
    • 29 Metascore
    • 33 Owen Gleiberman
    Even in her dullest vehicle, Lindsay Lohan exudes an unfakable shine.
    • 52 Metascore
    • 33 Owen Gleiberman
    You can see what the film was going for, but the jokes just sit there; you chuckle a few times, mostly out of lame hope, but you never bust a gut, never really get what you came for.
    • 36 Metascore
    • 33 Owen Gleiberman
    At least Ribisi's fake-cojones histrionics are fun. The rest of this "Donnie Brasco" knockoff, with James Marsden as a Gulf War veteran who goes undercover, is a turgid, ketchup-spattered dud.
    • 36 Metascore
    • 33 Owen Gleiberman
    The results in Employee of the Month are toothless.
    • 36 Metascore
    • 33 Owen Gleiberman
    No belief on earth can rescue Swank from a film that's a chain of disaster chintz masquerading as a sermon.
    • 36 Metascore
    • 33 Owen Gleiberman
    He now imparts so many life lessons via his Rube Goldberg thresher devices that he's starting to turn into the Rod Serling of severed body parts. Now that's torture.
    • 52 Metascore
    • 33 Owen Gleiberman
    For all of De Palma's studious multimedia trickery -- a valid, even inspired idea -- Redacted is so naive it's an embarrassment.
    • 7 Metascore
    • 33 Owen Gleiberman
    The Farrelly brothers could burp out a movie funnier than The Hottie & the Nottie, a farce of corrupt stereotypes that's never more grotesque than when it pretends to be more than skin-deep.
    • 35 Metascore
    • 33 Owen Gleiberman
    The premise is out of '70s porn, and so is the overbroad satire and almost total lack of conviction.
    • 24 Metascore
    • 33 Owen Gleiberman
    Myers is trying for another of his endearingly hormonal imp-egomaniacs, but hidden behind a wavy beard, a wax-curled mustache, and an astoundingly ugly squashed fake nose, he's a little too grotesque.
    • 57 Metascore
    • 33 Owen Gleiberman
    Most of this just seems, you know, so three years ago, so "Bourne" again.
    • 18 Metascore
    • 33 Owen Gleiberman
    If you've always longed to see a Cold War satire done in the hit 'em over the head frantic camp mode of ''Love, American Style,'' then Company Man is the movie for you.
    • 33 Metascore
    • 33 Owen Gleiberman
    Lawrence is so ON that he appears to be gunning for clockwork bursts of audience approval.
    • 18 Metascore
    • 33 Owen Gleiberman
    This rusty jalopy of a movie, which is so ramshackle it's nearly enough to make you forget how tossed-together the 1976 ''Car Wash'' was.
    • 38 Metascore
    • 33 Owen Gleiberman
    The Medallion makes you long for Tucker -- and for Jackie Chan to fly without digital wings.
    • 46 Metascore
    • 33 Owen Gleiberman
    How lame have high-concept, no-brain comedies gotten?
    • 32 Metascore
    • 33 Owen Gleiberman
    It's hard to say what's more excruciating: Alex's novel, which is like ''The Great Gatsby'' rewritten by Lizzie McGuire, or his quarrelsome flirtation with Emma, who has no existence as a character apart from her drive to reshape Alex into a specimen of respectable tamed manhood.
    • 32 Metascore
    • 33 Owen Gleiberman
    It was originally called ''Animal Husbandry,'' and while the producers were throwing away that title, they might have done well to chuck the movie along with it.
    • 41 Metascore
    • 33 Owen Gleiberman
    Has all the mood enhancing flavor of a tropical cocktail made with watered down rum and fake fruit juice.
    • 38 Metascore
    • 33 Owen Gleiberman
    The fusion of cheekiness and deliberately overscaled fantasy never jells.
    • 27 Metascore
    • 33 Owen Gleiberman
    Bland to dismal.
    • 55 Metascore
    • 33 Owen Gleiberman
    The film is proof that if you repackage the classics (in this case, Dickens) for the youth market in an era of MTV dislocation, what you get, in essence, is postmodern Cliffs Notes with an alt-rock soundtrack.
    • 19 Metascore
    • 33 Owen Gleiberman
    "Species" at least had the benefit of Henstridge's glazed porn-doll perversity, but this time any glimmers of sexual ominousness are buried in a lame, desultory chase plot and in the woefully underimagined special effects.
    • 24 Metascore
    • 33 Owen Gleiberman
    Jean-Claude Van Damme's latest dud.
    • 21 Metascore
    • 33 Owen Gleiberman
    Few comedies have worked this hard to make everyone on screen look this dumb.
    • 23 Metascore
    • 33 Owen Gleiberman
    It just makes you want to flip on the tube to see the real (fake) thing.
    • 38 Metascore
    • 33 Owen Gleiberman
    Tells a moldy-oldie, not-nearly-as-nasty-as-it-thinks-it-is joke. Over and over again.
    • 40 Metascore
    • 33 Owen Gleiberman
    Stuart Townsend, Theron's reallife boyfriend, may have inner fires as an actor that have yet to be revealed, but in Head in the Clouds he's a somber puppy who looks as if Theron could eat him alive. I wish she had.
    • 12 Metascore
    • 33 Owen Gleiberman
    The movie doesn't so much extend Schwartzman's antic outsider persona from ''Rushmore'' as uglify it, reducing him to the ultimate Uncool Anti-WASP.
    • 30 Metascore
    • 33 Owen Gleiberman
    Bloodless and false.
    • 12 Metascore
    • 33 Owen Gleiberman
    The Avengers is too enervated to qualify as even a full-scale disaster.
    • 34 Metascore
    • 33 Owen Gleiberman
    Tame and witless enough to make me long for the ancient, dusty fright kitsch of ''The Munsters.''
    • 35 Metascore
    • 33 Owen Gleiberman
    Van Helsing, a fusion of eye candy and brain sputter, is a long, kinetic, yet dreary mess.
    • 41 Metascore
    • 33 Owen Gleiberman
    The movie is a true folly, yet there's no denying that Gilliam has gotten some of the hallucinogenic madness of Thompson's novel on screen.
    • 22 Metascore
    • 33 Owen Gleiberman
    In its hostile sitcom way, Christmas With the Kranks is a paranoid comic nightmare of conformity gone mad.
    • 45 Metascore
    • 33 Owen Gleiberman
    If Crowe's eyes are open, he seems to have directed most of Vanilla Sky with his mind wide shut.
    • 24 Metascore
    • 33 Owen Gleiberman
    It takes the movie all of 15 minutes to descend into sub-Spielbergian banalities about poor Max's search for his absentee dad.
    • 38 Metascore
    • 33 Owen Gleiberman
    The director, Nora Ephron, displays her peerless gift for making everything seem snappy and mushy at the same time, and Travolta's performance has a slovenly, I-can-do-anything-and-you'll-still-love-me obnoxiousness.
    • 62 Metascore
    • 33 Owen Gleiberman
    Since there is a mystery, the movie might have been entertaining camp had director Taylor Hackford staged it with pace, style, or a whisper of surprise. Instead, the plot just clunks forward-for two hours and 10 minutes.
    • 45 Metascore
    • 33 Owen Gleiberman
    I Love You to Death is strenuously unclever.
    • 16 Metascore
    • 33 Owen Gleiberman
    Though not quite the fiasco of revved-up gunplay that Beverly Hills Cop II was, this new movie, directed by John ''Rock-'em Sock-'em'' Landis, is just a clunky action thriller, with occasional comic moments rationed out to the audience like stray crumbs.
    • 33 Metascore
    • 33 Owen Gleiberman
    The movie has no script, and even the better gags - like one in which a couple of the pilots scribble away at coloring books in the backseat of a plane - could have been staged more vividly.
    • 46 Metascore
    • 33 Owen Gleiberman
    CJ7
    Trivial and charmless.
    • 47 Metascore
    • 33 Owen Gleiberman
    This one is just murk.
    • 65 Metascore
    • 33 Owen Gleiberman
    A brutally monotonous thriller.
    • 44 Metascore
    • 33 Owen Gleiberman
    Even the film's one "original" twist is just a desperate attempt to link it up to Ghost Rider, the only lousy Nicolas Cage action film that is actually spawning a sequel.
    • 51 Metascore
    • 33 Owen Gleiberman
    The movie wants to be deadly cool, but mostly it's just deadly.
    • 61 Metascore
    • 33 Owen Gleiberman
    I love a good mind-bender, but it's getting more common these days to see thrillers that don't so much bend your mind as chop it, smash it, and place it in the Cuisinart. Trance, the new film directed by Danny Boyle is a high-brainiac art-world thriller that wants to do nothing more (or less) than give your head a majorly pleasurable spin.
    • 55 Metascore
    • 33 Owen Gleiberman
    Back to the Future Part III has that same sort of studio back-lot clunkiness. Only this time it's the audience that gets conked — by the sheer desperation of the whole enterprise.
    • 46 Metascore
    • 33 Owen Gleiberman
    The movie is MTV Kafka: Instead of dialogue, character, behavior, it has a look and a mood. And that's all it has.
    • 35 Metascore
    • 33 Owen Gleiberman
    Viewers primed for a postapocalyptic blowout will be disappointed to learn that Universal Soldier is set in the boring old present day, and that until the climactic clash the film is slow-moving and short on firepower.
    • 53 Metascore
    • 25 Owen Gleiberman
    A ponderous dystopian bummer that might be described as "The Road Warrior" without car chases, or "The Road" without humanity.
    • 27 Metascore
    • 25 Owen Gleiberman
    As the brutish Kable, Gerard Butler must find out who's pulling his strings, but it's the audience whose chain gets yanked by this headache-inducing techno-violent mishmash.
    • 62 Metascore
    • 25 Owen Gleiberman
    The wedding, which turns the very concept of ''Greek'' into the sort of hideous, pandering clichés that look rejected from bad Jewish and Italian sitcoms.
    • 30 Metascore
    • 25 Owen Gleiberman
    The thinnest, draggiest, and most tediously preachy of the Saw films.
    • 7 Metascore
    • 25 Owen Gleiberman
    Writer-director-stars Zach Cregger and Trevor Moore, of the Whitest Kids U'Know, here prove the crassest, most maladroit moviemakers you know.
    • 31 Metascore
    • 25 Owen Gleiberman
    Screenwriter Kevin Williamson (the Scream trilogy), having bottomed out in the horror genre, now dips below bottom (there isn't a line that has his knowing sweet-and-sour zing).
    • 72 Metascore
    • 25 Owen Gleiberman
    Antal has assembled what may be the single most colorless group of mangy lowlifes I have ever seen.
    • 56 Metascore
    • 25 Owen Gleiberman
    So badly told that it ends up dissecting a corruption that exudes from nowhere but itself.
    • 29 Metascore
    • 25 Owen Gleiberman
    As Brier's comrade-in-lip-gloss, Ashlee Simpson, dressed to look like a teenybop girl version of Crispin Glover in "River's Edge," is the real deal -- in fake cred.
    • 36 Metascore
    • 25 Owen Gleiberman
    The movie is trash shot to look like art imitating trash.
    • 45 Metascore
    • 25 Owen Gleiberman
    Atrociously scripted and edited.
    • 58 Metascore
    • 25 Owen Gleiberman
    The movie lacks even the misplaced fervor of obsession. It's lifeless kitsch.
    • 46 Metascore
    • 25 Owen Gleiberman
    Don't let the Carl Hiaasen pedigree fool you: Hoot is an Afterschool Special too crummy to give a hoot about.
    • 67 Metascore
    • 25 Owen Gleiberman
    A glumly serious British mock rock doc: You could forgive the paucity of jokes if Brothers of the Head had anything to say, or if the '70s-vérité surface were remotely convincing.
    • 29 Metascore
    • 25 Owen Gleiberman
    This dank and rhythmless ''psychological'' potboiler was directed by Jamie Babbit, who made 2000's "But I'm a Cheerleader," and though she has shifted tones from shrill camp to moody angst in The Quiet, she still thinks in stereotypes so thin that they put you to sleep the moment they open their mouths.
    • 69 Metascore
    • 25 Owen Gleiberman
    A few more films like Tears of the Black Tiger, and kitsch will be on its way to having a bad name.
    • 35 Metascore
    • 25 Owen Gleiberman
    Hannibal Rising reduces this great creature of the pop imagination to a Eurotrash Boy Scout throwing a homicidal snit fit.
    • 27 Metascore
    • 25 Owen Gleiberman
    Murphy speaks in a breathy lisp, as if his mouth had been partially buttoned shut, and he doesn't give himself the nerd's traditional redeeming feature of a geeky, slide-rule intellect. Norbit, all frozen gawk, is just a very dim bulb.
    • 36 Metascore
    • 25 Owen Gleiberman
    Chatwin comes off as prickly and annoyed -- they should have called this "Perturbia."
    • 64 Metascore
    • 25 Owen Gleiberman
    Inert dud of a hitmen-are-people-too comedy.
    • 52 Metascore
    • 25 Owen Gleiberman
    In a season of digital bombast, it can be a relief to walk into a stodgy life-of-the-great-man costume drama. Goya's Ghosts, before it turns into a messy, horse-drawn load, achieves a civilized stuffiness that gives off its own mild pleasure.
    • 25 Metascore
    • 25 Owen Gleiberman
    The audience gets the message (religious fanaticism: bad), but nothing we see is convincing on its own.
    • 36 Metascore
    • 25 Owen Gleiberman
    The morality of revenge is barely at issue in a movie that pushes the plausibility of revenge right over a cliff.
    • 46 Metascore
    • 25 Owen Gleiberman
    The film completely misses what should have been its real target -- the filming of Game of Death, a martial-arts campfest worthy of Edward D. Wood Jr.
    • 53 Metascore
    • 25 Owen Gleiberman
    You can expect a lot of shredding and gurgling. 30 Days of Night is relentless, but it's also relentlessly one-note.
    • 29 Metascore
    • 25 Owen Gleiberman
    Kate Hudson is as blah and dazed as her costar is cloyingly enthused. If it's possible to have too even a tan, Hudson in Fool's Gold would be the poster child for it.
    • 48 Metascore
    • 25 Owen Gleiberman
    Simon Pegg has what it takes, but he's saddled himself with a script (co-written by Pegg and Michael Ian Black) that Adam Sandler wouldn't have pulled out of his bottom drawer.
    • 53 Metascore
    • 25 Owen Gleiberman
    None of the faux icons comes close to being a character. Instead, they are contrasted with a group of nuns who skydive without parachutes. Could this possibly be a metaphor for Korine's filmmaking? It certainly goes splat.
    • 49 Metascore
    • 25 Owen Gleiberman
    It's like "Schindler's List" crossed with "The Sound of Music," and Roger Spottiswoode directs it in a stiff, lifeless, utterly dated style of international squareness.
    • 36 Metascore
    • 25 Owen Gleiberman
    It's not much fun to see these two reduced to "Mad TV" parodies of themselves.
    • 31 Metascore
    • 25 Owen Gleiberman
    It's just a grindingly inert death-wish thriller.
    • 41 Metascore
    • 25 Owen Gleiberman
    While George Lopez, Cheech Marin, and Paul Rodriguez are funny men, it's amazing how boring these Latin-shtick cutups can be when none of them gets a single good line.
    • 28 Metascore
    • 25 Owen Gleiberman
    Randall Miller (Bottle Shock), appears to be trying to cross a bad Elmore Leonard thriller with a bad indie-festival family-angst comedy. He gives us the worst of both worlds.
    • 33 Metascore
    • 25 Owen Gleiberman
    It's a dispirited, galumphing mess.
    • 44 Metascore
    • 25 Owen Gleiberman
    It all makes you want to see a Bollywood movie, all right -- a good one.
    • 38 Metascore
    • 25 Owen Gleiberman
    A stillborn rendering of Michael Chabon's first novel.
    • 50 Metascore
    • 25 Owen Gleiberman
    Isn't it time Steve Zahn grew up? Ever since the '90s, this walking quirk of an actor has pushed his dazed solipsistic zaniness (he's like Michael J. Fox’s hillbilly cousin), but he's 41 now, and it no longer looks cute on him.
    • 29 Metascore
    • 25 Owen Gleiberman
    The result is a sub-"Saw" knockoff that manages to be brutal yet monotonous, not to mention monstrously unpleasant.
    • 61 Metascore
    • 25 Owen Gleiberman
    Whenever an actress takes on a gritty working-class role, the audience does a gut check of authenticity. Either the actress gets it, like Melissa Leo did in "Frozen River," or she doesn't, like Michelle Monaghan as the spoilin'-for-a-fight truck-driver heroine of the inert indie dud Trucker
    • 48 Metascore
    • 25 Owen Gleiberman
    It's no insult to Melville to say that he wrote, in effect, the original ''Dilbert.'' This movie, unfortunately, makes ''Dilbert'' look like Melville.