Owen Gleiberman

Select another critic »
For 2,631 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Crazy, Stupid, Love
Lowest review score: 0 The Last House on the Left
Score distribution:
2631 movie reviews
    • 19 Metascore
    • 25 Owen Gleiberman
    Someone (Myers?) came up with the bright idea of turning the Cat in the Hat into the worst Vegas nightclub spritzer of 1958. He's become a furry version of Rip Taylor: a walking, talking vaudeville idiot box.
    • 70 Metascore
    • 25 Owen Gleiberman
    Isn't up to much of anything besides pretending that swearwords and snot-nosed insults, served up by Santa with an almost institutional monotony, aren't just naughty. They're -- big joke! -- incorrect.
    • 35 Metascore
    • 25 Owen Gleiberman
    The movie, which strains to be hip in a faux-1985 beat-the-system way, takes such a light view of cheating that it has the ironic effect of rendering the heist that follows utterly innocuous.
    • 65 Metascore
    • 25 Owen Gleiberman
    You'd think that the film would ask you to be appalled at this scenario of forced servitude -- but no, it's treated as harmless and cute, like an Israeli ''Chico and the Man.''
    • 31 Metascore
    • 25 Owen Gleiberman
    The cruddy, shot-in-a-warehouse settings are especially depressing, since the computer-generated special effects seem to be taking place in another movie entirely (a far livelier one). [9 Jan 1998, p. 47]
    • Entertainment Weekly
    • 37 Metascore
    • 25 Owen Gleiberman
    The United States of Leland is tedious yet infuriating, since its characters, all of whom seem to have emerged from a screenwriter's manual, are like exhibits in a thesis meant to indict the middle class for the crime of its collective dysfunction.
    • 45 Metascore
    • 25 Owen Gleiberman
    A cheaply made piece of ''psychological'' occult schlock, subjects you to that depressing stop-and-go rhythm that defines inept fantasy thrillers.
    • 31 Metascore
    • 25 Owen Gleiberman
    Leaves you with the dismaying sensation that Levinson, who should probably be off making his own version of ''The Player,'' has instead crafted a comedy of self-loathing, burying himself in a movie that deserves to be Vapoorized.
    • 35 Metascore
    • 25 Owen Gleiberman
    If you were looking for an actress to play a tempestuous, schizophrenic movie-slash-rock star, you might go for Courtney Love or Angelina Jolie, or maybe even Jennifer Connelly. But Rachael Leigh Cook?
    • 34 Metascore
    • 25 Owen Gleiberman
    Instead of rooting for Pullman and Fonda, we end up praying that the crocodile is hungry enough to put them out of their misery.
    • 46 Metascore
    • 25 Owen Gleiberman
    A witch comedy so slapdash, plodding, and muddled it seems to have had a hex put on it.
    • 52 Metascore
    • 25 Owen Gleiberman
    Has Brian De Palma finally lost his mind? Ever since "Carrie" (1976), his one true masterpiece, this director has evolved into a cinematic serial killer of common sense.
    • 66 Metascore
    • 25 Owen Gleiberman
    Watching Pecker, his rickety new comedy about a teenage Baltimore shutterbug, it becomes clear that Waters has grown color-blind to his own sleazo-shock aesthetic.
    • 47 Metascore
    • 25 Owen Gleiberman
    Silver City may be the mustiest political-conspiracy tale ever filmed; it's like "Chinatown" rewritten by Ralph Nader.
    • 29 Metascore
    • 25 Owen Gleiberman
    Homophobic, sex-phobic, maybe even human-phobic.
    • 27 Metascore
    • 25 Owen Gleiberman
    An action-choked dud in which even the closing outtakes barely deserve to be left on the cutting-room floor?
    • 15 Metascore
    • 25 Owen Gleiberman
    Darkness was clearly tossed together like salad in the editing room, since it's little more than the sum of its unshocking shock cuts.
    • 35 Metascore
    • 25 Owen Gleiberman
    A sodden ''feminist'' vulgarization.
    • 30 Metascore
    • 25 Owen Gleiberman
    Simply put, it may be the lamest movie ever made about poor white... Southern characters.
    • 30 Metascore
    • 25 Owen Gleiberman
    Feeling Minnesota suggests Sam Shepard trying to be Quentin Tarantino. It makes even gun battles seem pretentious.
    • 16 Metascore
    • 25 Owen Gleiberman
    By the end, you feel like a drill sergeant-you want to wipe that stupid grin off Sandler's face.
    • 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."
    • 27 Metascore
    • 25 Owen Gleiberman
    Vampire in Brooklyn is a horror comedy that mixes lame blood-pellet effects with lame gags, and it clunks along on a series of interchangeably deserted streets that manage to look dank and overlit at the same time.
    • 44 Metascore
    • 25 Owen Gleiberman
    Last Action Hero makes such a strenuous show of winking at the audience (and itself) that it seems to be celebrating nothing so much as its own awfulness. In a sense, the movie's incipient commercial failure completes it aesthetically.
    • 50 Metascore
    • 25 Owen Gleiberman
    The most irritating thing about Hoffa is that even after you've sat through Danny DeVito's turgid, meaninglessly sprawling account of the Teamster boss' rise and fall, you still won't have any idea who Jimmy Hoffa was.
    • 49 Metascore
    • 25 Owen Gleiberman
    It's like a film-school thesis gone disastrously wrong.
    • 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.
    • 24 Metascore
    • 25 Owen Gleiberman
    The backstories keep piling up, with nods to "The Shining," "The Ring," and a dozen other gothic supernatural chillers, yet the result doesn't remotely scare you.
    • 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.
    • 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.
    • 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.
    • 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.
    • 29 Metascore
    • 25 Owen Gleiberman
    The result is a sub-"Saw" knockoff that manages to be brutal yet monotonous, not to mention monstrously unpleasant.
    • 30 Metascore
    • 25 Owen Gleiberman
    The thinnest, draggiest, and most tediously preachy of the Saw films.
    • 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.
    • 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
    • 33 Metascore
    • 25 Owen Gleiberman
    In Trash Humpers, the latest slovenly, haphazard, is-it-a-travesty-if-it's-bad-on-purpose avant doodle from director Harmony Korine, three figures in rubbery old-age makeup do indeed mimic intercourse with Dumpsters.
    • 37 Metascore
    • 25 Owen Gleiberman
    Taylor Hackford, fails to squeeze the tiniest bit of juice, sexy or comic or otherwise, out of the chintzy-libertine locale.
    • 57 Metascore
    • 25 Owen Gleiberman
    I wish I could say that the film is half as intriguing as it sounds, but A Woman, a Gun... lacks the Coen brothers' precision, their diabolical game-board cleverness. It's a remake in shaggy outline only.
    • 38 Metascore
    • 25 Owen Gleiberman
    The Rite commits the supreme sin of making the devil dull.
    • 50 Metascore
    • 25 Owen Gleiberman
    Anderson has made a zombie movie without the zombies.
    • 37 Metascore
    • 25 Owen Gleiberman
    Except for the relentless, jittery way that the film has been photographed, there's nothing of interest going on in it. It's all fractious guerrilla-newsreel "style" masquerading a void.
    • 41 Metascore
    • 25 Owen Gleiberman
    Hop
    It's "Alvin and the Chipmunks" with only one chipmunk, and (if possible) even less fun.
    • 66 Metascore
    • 25 Owen Gleiberman
    It's one of those stultifying aftermath-of-
a-car-crash movies.
    • 43 Metascore
    • 25 Owen Gleiberman
    The title, Machine Gun Preacher, makes it sound like a piece of grindhouse kitsch - and by the time it's over, you'll be thinking, ''If only!''
    • 22 Metascore
    • 25 Owen Gleiberman
    It will have you groaning between yawns.
    • 51 Metascore
    • 25 Owen Gleiberman
    Nothing in John Carter really works, since everything in the movie has been done so many times before, and so much better.
    • 46 Metascore
    • 25 Owen Gleiberman
    The film’s most distinctive, if obnoxious, feature is the coy, look-at-what- an-adorable-doofus-I-am clowning of Adam Sandler, who here, as on Saturday Night Live, parades his ironic infantilism.
    • 39 Metascore
    • 25 Owen Gleiberman
    The Bodyguard is an outrageous piece of saccharine kitsch — or, at least, it might have been had the movie seemed fully awake. Instead, it’s glossy yet slack; it’s like Flashdance without the hyperkinetic musical numbers and with the romance padded out to a disastrously languid 2 hours and 10 minutes.
    • 33 Metascore
    • 25 Owen Gleiberman
    Instead of exploiting the mystery and dread, or even the comedy, of Billy’s condition, Thinner turns into an excruciatingly low-grade pursuit thriller, with Billy hunting down the old Gypsy sage (Michael Constantine) who put the curse on him.
    • 55 Metascore
    • 25 Owen Gleiberman
    You may go into Flatliners hoping for a psychedelic mindblower, but the film is about as exciting as staring at a lava lamp for two hours.
    • 11 Metascore
    • 20 Owen Gleiberman
    Nine Lives is a lot like a cat: It occasionally bestirs itself, and it would like to be stroked with love, but mostly it just sits there. It’s a pet farce so flat it makes you long for the Lubitsch touch of the “Alvin” comedies.
    • 50 Metascore
    • 20 Owen Gleiberman
    It’s hard to say what the title of Trespass Against Us actually means, but then it’s hard to know what anything in this movie thinks it’s about. Even Ed Wood would have said, “Needs work.”
    • 25 Metascore
    • 20 Owen Gleiberman
    The movie, which will be lucky to eke out a weekend’s worth of business, isn’t scary, it isn’t awesome, and it doesn’t nudge you to think of technology in a new way. But it does make you wish that you could rewind those two hours, or maybe just erase them.
    • 25 Metascore
    • 16 Owen Gleiberman
    It will come as no surprise that the movie isn't scary. But here's the real damn: It isn't funny, either.
    • 16 Metascore
    • 16 Owen Gleiberman
    The movie, a shoddy mess, is a bargain-basement rip-off of ''Ronin."
    • 30 Metascore
    • 16 Owen Gleiberman
    The definition of aiming low is when the John Hughes film you're ripping off is ''Weird Science."
    • Entertainment Weekly
    • 40 Metascore
    • 16 Owen Gleiberman
    Stops time, all right -- it stretches 94 minutes into something that begins to feel like infinity.
    • 31 Metascore
    • 16 Owen Gleiberman
    The hilarious diminuendo of that title is such that the movie might as well have been called ''Wes Craven Presents: Not a Hell of a Lot.''
    • 30 Metascore
    • 16 Owen Gleiberman
    Schaeffer's howler of a romantic comedy, which presents itself as a valentine to Clayburgh even as it keeps dreaming up fresh ways to humiliate her.
    • 64 Metascore
    • 16 Owen Gleiberman
    It has that vintage Polish pace, their signature arch pomposity and rhythmless weirdness, only this time the brothers had to go and make a cosmic allegory of American dreams.
    • 48 Metascore
    • 16 Owen Gleiberman
    Serves up the sort of shrill ''satire'' of middle-class Jewish vulgarity in which the mere mention of words like ''brisket'' and ''klezmer'' is automatically presumed to be hilarious.
    • 33 Metascore
    • 16 Owen Gleiberman
    The Punisher is a moronically inept and tedious piece of death-wish trash.
    • 53 Metascore
    • 16 Owen Gleiberman
    Nothing in Imaginary Heroes rings true, least of all a plot that lightly combines domestic abuse, adulterous pregnancy, teen bisexuality, job abandonment, and a possible case of Mysterious Movie Disease. These are not ordinary people. Or real ones.
    • 62 Metascore
    • 16 Owen Gleiberman
    The result is a dead pile of information in search of a movie.
    • 11 Metascore
    • 16 Owen Gleiberman
    Fragmented and monotonous, without a semblance of the gymnastic cleverness that at least made the first Mortal Kombat film into watchable trash, Mortal Kombat Annihilation is as debased as movies come.
    • 27 Metascore
    • 16 Owen Gleiberman
    Selma Blair, the one vibrant actress in a cast of colorless screamers (including Tom Welling from Smallville and Maggie Grace from Lost), takes Adrienne Barbeau's old role.
    • 21 Metascore
    • 16 Owen Gleiberman
    The Zodiac has been made with the dunderheaded flatness of bad '70s TV.
    • 50 Metascore
    • 16 Owen Gleiberman
    Shainberg reduces this most disturbing of all photographers to a portraitist of Halloween.
    • 42 Metascore
    • 16 Owen Gleiberman
    The gimmick in The Abandoned is that people battle their zombie doubles, whom they can't kill, since they'd be killing themselves. But the movie sinks so deep into deathly atmosphere that there's no life to it.
    • 14 Metascore
    • 16 Owen Gleiberman
    Confined to just a few sets, the movie is like the pilot for a sitcom you never want to see. Yet Ephron seems to think she's making a feel-good holiday classic: She floods the soundtrack with old pop versions of Christmas standards, trying to render stale comedy appetizing by drenching it in syrup. [23 Dec 1994, p.50]
    • Entertainment Weekly
    • 48 Metascore
    • 16 Owen Gleiberman
    Angel-A shows how director Luc Besson can be French in a way that even the French might despise...Quel ick. And très tedious.

Top Trailers