Owen Gleiberman

Select another critic »
For 2,495 reviews, this critic has graded:
  • 66% higher than the average critic
  • 2% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 4.5 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Every Little Step
Lowest review score: 0 Down to You
Score distribution:
2495 movie reviews
    • 61 Metascore
    • 60 Owen Gleiberman
    The movie is murky and disjointed, held together not so much by what happens as by a vague atmosphere of obsession.
    • 66 Metascore
    • 60 Owen Gleiberman
    Blood Father is trash, but it does capture what an accomplished and winning actor Mel Gibson can be. Just because he lost his bearings, and his career, doesn’t mean that he lost his talent.
    • 62 Metascore
    • 60 Owen Gleiberman
    It’s dutiful, but it’s also superficial and polite, and it commits the genteel sin of the old biopics: It turns its hero into a plaster saint.
    • 68 Metascore
    • 60 Owen Gleiberman
    Voyage of Time has too many spellbinding images to count, but as a movie it’s just okay.
    • 43 Metascore
    • 60 Owen Gleiberman
    The movie gives us bits and pieces of drama, but in a larger way it doesn’t invite us in.
    • 54 Metascore
    • 60 Owen Gleiberman
    Gets the job done, but it’s hard to escape the feeling that you’re watching a routinely conceived, rather generic boxing flick. It’s utterly competent, yet it makes Duran’s story seem a little so-what?
    • 40 Metascore
    • 60 Owen Gleiberman
    Watching MacLaine’s Harriet embrace her life, after spending too much time rejecting it, leads The Last Word to a touching finish. MacLaine has something that shines through and elevates a film like this one. The movie is prefab indie whimsy, but she gives it an afterglow.
    • tbd Metascore
    • 60 Owen Gleiberman
    It has a few traumatic and bedazzling scenes of combat, but mostly it’s about the backroom bureaucratic gamesmanship of war.
    • 64 Metascore
    • 60 Owen Gleiberman
    A dutiful and diverting but rather bare-bones documentary portrait.
    • 49 Metascore
    • 60 Owen Gleiberman
    The film is sharply written and crafted, lavishly photographed, impeccably acted, with lots of twists and turns — yet for all that, it somehow lacks zing.
    • 34 Metascore
    • 60 Owen Gleiberman
    An amiable time-killer of an espionage comedy.
    • 79 Metascore
    • 60 Owen Gleiberman
    Fences has passages of fierce and moving power, but on screen the play comes off as episodic and more than a bit unwieldy.
    • 35 Metascore
    • 60 Owen Gleiberman
    It’s a prosaic piece of muckraking, shot in a functional flat visual style, but it grazes a nerve.
    • 64 Metascore
    • 60 Owen Gleiberman
    The movie, watchable as it is, never quite overcomes the sense that it’s a lavish diagram working hard to come off as a real movie.
    • 61 Metascore
    • 60 Owen Gleiberman
    It isn’t bad, but it’s kind of a trifle. Though it treats its themes with reasonable honesty, it can’t help but come off as a bit diagrammed.
    • 70 Metascore
    • 60 Owen Gleiberman
    The movie, despite enthralling moments, is so self-intoxicated by its blissed-out vision of global healing that it’s a little soft.
    • 90 Metascore
    • 60 Owen Gleiberman
    Paterson, Jarmusch’s wee dramatic curio starring Adam Driver as a New Jersey bus driver – his name is Paterson, and he lives in Paterson — is a movie that’s all too aware of how much it diverges from contemporary tempo. That’s because the entire film is a self-conscious anachronism.
    • 55 Metascore
    • 60 Owen Gleiberman
    The Boss Baby, the jokey new 3D animated lark from DreamWorks Animation (it’s being distributed by 20th Century Fox), is a visually brisk, occasionally clever low-concept comedy that’s also trying, half-heartedly, to be some sort of Pixarish masterpiece. You may wind up wishing that it had been one or the other.
    • 83 Metascore
    • 60 Owen Gleiberman
    20th Century Women is an endless chain of anecdotes, and though many individual moments are winning, the movie as a whole is rudderless. It never achieves an emotional power surge.
    • 60 Metascore
    • 60 Owen Gleiberman
    The Light Between Oceans winds up taking one too many self-serious twists and turns. The film earns its darkness, but it might have been even more affecting if it didn’t shrink from the light.
    • 45 Metascore
    • 58 Owen Gleiberman
    With its ungainly double-deception premise, How to Lose a Guy feels like it was made out of two connect-the-dots drawings laid haphazardly on top of one another.
    • 46 Metascore
    • 58 Owen Gleiberman
    The surprise, and disappointment, of The Da Vinci Code is how slipshod and hokey the religious detective story now seems.
    • 46 Metascore
    • 58 Owen Gleiberman
    The rules of good screenwriting are mostly broken, though Jamie Foxx's smash-and-grab charisma remains intact.
    • 48 Metascore
    • 58 Owen Gleiberman
    Has a voyeuristic tug, but all in all it's a lot less sensational than it wants to be.
    • 53 Metascore
    • 58 Owen Gleiberman
    The movie, I'm sad to report, has a majorly disappointing follow-through. It turns into a noisy, squalling chase movie.
    • 57 Metascore
    • 58 Owen Gleiberman
    Shia LaBeouf, who appears to be on hand to prove that a movie with a crusading newspaper reporter can still exist, perks up his scenes, and Redford acts with his usual hyperalert, placid control.
    • 73 Metascore
    • 58 Owen Gleiberman
    Tony Leung plays Ip Man with his old-movie charisma and reserve, but the film, despite a few splendid fights, is a biohistorical muddle that never finds its center. Maybe that's because — big mistake! — it never gets to Bruce Lee.
    • 47 Metascore
    • 58 Owen Gleiberman
    He's Just Not That Into You turns romantic sanity into something so sanitized that it starts to make delusion look good.
    • 63 Metascore
    • 58 Owen Gleiberman
    Mostly comes down to rage fiends going at one another with baseball bats, knives, pesticide tanks, and power drills.
    • 39 Metascore
    • 58 Owen Gleiberman
    The difference between "Pretty Woman" and Runaway Bride is that we can no longer buy Roberts in her tearful romantic-melancholy mode. It seems vaguely patronizing now.
    • 58 Metascore
    • 58 Owen Gleiberman
    As a movie, Freakonomics is like Jujubes for the brain - it starts to get cloying halfway through the box.
    • 55 Metascore
    • 58 Owen Gleiberman
    Every so often, Keanu Reeves' robo-voiced blankness serves him well, but when he has to play a pulpy, tormented demon-saint, scraping up insults and spitting them out like bullets, he's like the host of an infomercial doing an impersonation of a badass.
    • 49 Metascore
    • 58 Owen Gleiberman
    Some motion pictures portray ultimate passion; others create ultimate thrills. Men in Black II achieves ultimate insignificance -- it's the sci-fi comedy spectacle as Whiffle-Ball epic.
    • 71 Metascore
    • 58 Owen Gleiberman
    The aliens aren't particularly scary or funny, and so the joke of watching Smith and Jones crack wise in their faces wears thin.
    • 61 Metascore
    • 58 Owen Gleiberman
    One of those feminist cries in the dark in which the heroine, a saintly sufferer, is more admirable than interesting.
    • 55 Metascore
    • 58 Owen Gleiberman
    Safe has more action than intrigue (or logic), and it's boilerplate vicious. It may satisfy Statham's fans, but they - like he - would do well to enlarge their expectations.
    • 64 Metascore
    • 58 Owen Gleiberman
    A celebration of the theater that tends to drag the moment it's out of drag.
    • 44 Metascore
    • 58 Owen Gleiberman
    So diaphanous it practically dissolves as you watch it.
    • 31 Metascore
    • 58 Owen Gleiberman
    A bland, pious yet touching faith-based tearjerker.
    • 50 Metascore
    • 58 Owen Gleiberman
    Cowboys & Aliens has fun moments, but it's a plodding entertainment because it mostly tastes like leftovers.
    • 58 Metascore
    • 58 Owen Gleiberman
    Director Kathryn Bigelow is one of the new-style action wizards who’ve never quite mastered the nuts and bolts of telling a story.
    • 33 Metascore
    • 58 Owen Gleiberman
    The movie takes off from a concept as basic as a videogame, and it sticks to that concept, without surprise.
    • 50 Metascore
    • 58 Owen Gleiberman
    Are there surprises? A couple of big money ones, notably the ludicrous would-be jaw-dropper of a finale.
    • 15 Metascore
    • 58 Owen Gleiberman
    The movie is merciless sending up "Juno's" self-satisfied hipster gobbledygook, and it's quite funny to see Hannah Montana still promoting her tie-in products as she lies crushed and dying under a meteor.
    • 55 Metascore
    • 58 Owen Gleiberman
    This shot-on-film-and-video trifle reveals a Bombay (that's what all the characters call it) that "Slumdog Millionaire" didn't: a delicate metropolis sunk in torpor.
    • 63 Metascore
    • 58 Owen Gleiberman
    Depression is a fair subject for a movie, but this much moroseness shouldn't come to this little.
    • 38 Metascore
    • 58 Owen Gleiberman
    Hudson's sunny, ringlet-tossing appeal fits snugly into the film's happy-homemaker ideology: She makes caring for three kids she barely knows look downright glamorous.
    • 33 Metascore
    • 58 Owen Gleiberman
    Frequently silly, yet eminently more watchable than such leaden Schwarzenegger efforts as ''Eraser.''
    • 49 Metascore
    • 58 Owen Gleiberman
    There's always something to look at (an octopus holding his eyeballs aloft, the petulant Jane assaulted by pixie dust), but the story is weak tea.
    • 59 Metascore
    • 58 Owen Gleiberman
    What it isn't is a believable relationship. Yet that may scarcely matter to LaBute, a gifted and corrosive wordsmith who appears intent, by now, on shoving all romantic couplings into the meat grinder of his misanthropic design.
    • 22 Metascore
    • 58 Owen Gleiberman
    A synthetic yet shrill sadomasochistic cartoon.
    • 77 Metascore
    • 58 Owen Gleiberman
    Instead of a full-bodied comic portrait of the coming-out-party set, Metropolitan offers a thin, cartoon version. Then it uses that cartoonishness to make everyone on-screen seem irresistibly cute.
    • 40 Metascore
    • 58 Owen Gleiberman
    The result isn't liberated from the stage; it's trapped, with waxworks literalness, onscreen.
    • 43 Metascore
    • 58 Owen Gleiberman
    This is one of those films in which the Act of Driving becomes a 10-minute statement of high emptiness; Dumont even manages to make sex in the desert boring.
    • 71 Metascore
    • 58 Owen Gleiberman
    As it moves from the drizzly to the overly stormy, Rain freights a young girl's self-destructive eagerness to lose her virginity with so much danger and even horror that it's as if the events were trying to make up for the film's previous lack of drama.
    • 58 Metascore
    • 58 Owen Gleiberman
    More potent than anything in Snakes on a Plane is the fantasy offscreen: that if enough people talk up their desire to see this film and, at the same time, take an overt delight in what an unabashed piece of junk it is, they will fuse with the hype, with the movie's mystique. They will not just watch Snakes on a Plane; they will own it.
    • 36 Metascore
    • 58 Owen Gleiberman
    The movie zips around without any true forward momentum. The stars carry you along, though.
    • 45 Metascore
    • 58 Owen Gleiberman
    With its smooth skinned cast and demonized adults, doesn't feel very authentic.
    • 69 Metascore
    • 58 Owen Gleiberman
    Pucci proves to be one of the most charismatic male ingenues since Johnny Depp.
    • 45 Metascore
    • 58 Owen Gleiberman
    In the world according to Eurotrip, the Europeans may be a twisted, outdated, ridiculous lot, but what defines them is that unlike the Americans, they've never quite evolved to irony: They treat even the scuzziest habits with dire sincerity.
    • 60 Metascore
    • 58 Owen Gleiberman
    Romeo & Juliet is a series of spectacular production designs posing as a motion picture.
    • 49 Metascore
    • 58 Owen Gleiberman
    A horror film that consists of virtually nothing but don't-go-in-the-attic suspense scenes strung together with a reasonable degree of brooding mood and a minimum of logic.
    • 35 Metascore
    • 58 Owen Gleiberman
    A harmless crime caper. It stars Peter Facinelli (Nurse Jackie, the Twilight series), who also wrote the script, shaping the movie to his facile, unlayered charm.
    • 49 Metascore
    • 58 Owen Gleiberman
    It's a veritable Greek chorus of wry therapeutic chatter, the touchy-feely pensées skittering over the stock dualities of adultery and fidelity, lust and devotion, narcissism and intimacy, blah, blah, blah.
    • 25 Metascore
    • 58 Owen Gleiberman
    A clunky family-therapy soaper.
    • 24 Metascore
    • 58 Owen Gleiberman
    A Jekyll-and-Hyde teen comedy that sounds like a Pauly Shore reject, but Qualls moves his marionette body around with a true clown's effervescence, and he does rubber-faced parodies of youth cool that are just what youth cool deserves.
    • 62 Metascore
    • 58 Owen Gleiberman
    Incident at Loch Ness, unfortunately, is a riddle wrapped in a hoax stuffed inside a crock.
    • 71 Metascore
    • 58 Owen Gleiberman
    Lee's performance is by far the best thing about The Crow. Unfortunately, he's just good enough to make you wish that the movie had had a whisper of storytelling invention to go along with its showy visual design.
    • 61 Metascore
    • 58 Owen Gleiberman
    The drama is so minimalist that it's hard to glimpse the man behind the woe.
    • 42 Metascore
    • 58 Owen Gleiberman
    Amusing in its very shallowness.
    • 29 Metascore
    • 58 Owen Gleiberman
    Mostly preposterous, and it has no dramatic center, but the racing scenes hold you in their death-trip grip.
    • 71 Metascore
    • 58 Owen Gleiberman
    Little Man Tate keeps introducing characters and narrative lines that seem promising, but it doesn’t sustain them. The movie feels like three Afterschool Specials welded together.
    • 65 Metascore
    • 58 Owen Gleiberman
    It doesn't quite wash. Guédiguian has a telling instinct for the buried shame of working-class squalor, but his film is inflated with a doom that feels programmatic rather than earned.
    • 68 Metascore
    • 58 Owen Gleiberman
    It would be nice to see a sharp, funny, penetrating satire of the new, kicked-up culture of empty media fame, but Tom DiCillo's scattershot buddy movie Delirious isn't it.
    • 53 Metascore
    • 58 Owen Gleiberman
    We Are Marshall has little of the bone-crunchingsincerity of the recent pigskin rouser "Invincible." This one is more like Unconvincing.
    • 32 Metascore
    • 58 Owen Gleiberman
    A boxing film with no conflictual punch.
    • 59 Metascore
    • 58 Owen Gleiberman
    Déjà Vu is watchable trash, meticulously edited in Scott's skip-stutter style, but there's something ultimately unsatisfying about a thriller that more or less makes up its rules as it goes along.
    • 56 Metascore
    • 58 Owen Gleiberman
    Fitfully amusing, mostly annoying rom-com.
    • 51 Metascore
    • 58 Owen Gleiberman
    It's tempting to say that Mamma Mia! has the worst choreography of any big-screen musical in history, though that would imply that what happens in the film IS choreography.
    • 73 Metascore
    • 58 Owen Gleiberman
    Sweet, flaky, and more than a little aimless.
    • 18 Metascore
    • 58 Owen Gleiberman
    A watchable bad movie, but it's far from your typical cookie-cutter blockbuster. There are no shoot-outs or car chases, and there isn't much romantic suspense, either.
    • 61 Metascore
    • 58 Owen Gleiberman
    In a strange way the Williamson of "Dawson's Creek" is now at odds with the sophisticated joker who wrote "Scream."
    • 58 Metascore
    • 58 Owen Gleiberman
    The First Wives Club has all the conviction a comedy of female vengeance needs. But as soon as the dumb plot takes over, the wit leaks out of the movie like helium from a balloon.
    • 38 Metascore
    • 58 Owen Gleiberman
    The gruesomely unnecessary remake of The Texas Chainsaw Massacre is such a smorgasbord of slimy grunge that to call the movie gross wouldn't do it justice -- it's downright sticky.
    • 56 Metascore
    • 58 Owen Gleiberman
    The Mask, a rattletrap Jekyll-and-Hyde farce, surrounds Carrey with a nothing plot and a cast of ciphers. Still, his scenes as the Mask are rowdy and enjoyable.
    • 44 Metascore
    • 58 Owen Gleiberman
    Basically, it's "The A-Team" meets "Rambo" meets "Mission: Impossible," with a mission that's one part trickiness, four parts blowing stuff up.
    • 49 Metascore
    • 58 Owen Gleiberman
    A fake street drama that keeps telling you things instead of showing them, though Mekhi Phifer, playing a hustler who loves the life, is electric and true.
    • 59 Metascore
    • 58 Owen Gleiberman
    In ''Ordinary People,'' at least one character -- Mary Tyler Moore's -- had to fall so that the others could survive. In Moonlight Mile, no one gets shut out of the hug cycle.
    • 41 Metascore
    • 58 Owen Gleiberman
    A tawdry excuse for a movie, but it has a handful of shameless giggles.
    • 47 Metascore
    • 58 Owen Gleiberman
    27 Dresses is a movie geared to a pitch of high matrimonial-princess fever.
    • 66 Metascore
    • 58 Owen Gleiberman
    Andy Garcia reminds you of what a cunning, likable actor he can be.
    • 76 Metascore
    • 58 Owen Gleiberman
    For two and a half hours, Edel lays out the bombings, kidnappings, and murders committed by the Baader-Meinhof group, which mutated into the RAF. He catches the violently delusional self-righteousness of their antifascist fervor, but as individuals these cultish guerrillas remain opaque.
    • 50 Metascore
    • 58 Owen Gleiberman
    And when [Roberts is] on screen with Mulroney, who seems a frat-house jerk -- all dimples and a perma-tan -- we don't feel much of anything.
    • 44 Metascore
    • 58 Owen Gleiberman
    In My Country doesn't so much explore as use the tragedy of black South Africa to give its heroine a righteous slap of nobility.
    • 69 Metascore
    • 58 Owen Gleiberman
    It's all way too heavy-handed, though nicely acted by Hirsch, Culkin, and, especially, Jena Malone.
    • 56 Metascore
    • 58 Owen Gleiberman
    The sexy, scruffy, neo-Warriors pageantry of ghetto teen hunger would have been a lot more vital if Clark didn't have such a class-war chip on his shoulder.
    • 61 Metascore
    • 58 Owen Gleiberman
    Couldn't Mike Judge, with his acid wit, have come up with a better title for a suburban-schlub comedy than ?Extract?
    • 53 Metascore
    • 58 Owen Gleiberman
    A weakly scripted shambles.
    • 45 Metascore
    • 58 Owen Gleiberman
    Isn't incompetent; it's just plodding and obvious. If anything holds it together, it's The Rock's ironic ability to tread lightly, which the movie is neither fast nor inventive enough to recognize as different from the spirit of Arnold.
    • 67 Metascore
    • 58 Owen Gleiberman
    Offers tricky fragmentation without mystery or mood; it's a mosaic of fear that grows less and less unsettling as it comes together.

Top Trailers