Owen Gleiberman

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For 2,600 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 Easy Money
Lowest review score: 0 A Life Less Ordinary
Score distribution:
2600 movie reviews
    • 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.
    • 47 Metascore
    • 58 Owen Gleiberman
    He does an okay imitation of his father's languidly matter-of-fact dreamscapes, but it's hard to deny that a certain vitality is missing in Tales From Earthsea.
    • 64 Metascore
    • 58 Owen Gleiberman
    Cold Weather becomes the world's first mumblecore "thriller" - a good idea for a movie that someone, in the future, should execute a bit less lackadaisically.
    • 57 Metascore
    • 58 Owen Gleiberman
    A tastefully overbearing franchise fairy tale with a handful of ravishing touches.
    • 79 Metascore
    • 58 Owen Gleiberman
    The Peoples Temple congregation was sizably African-American. But when it comes to how those followers turned into a zombie Kool-Aid death cult, Jonestown: The Life and Death of Peoples Temple leaves you with more questions than you went in with.
    • 48 Metascore
    • 58 Owen Gleiberman
    For a while, the movie has a cat-and-mouse appeal - it's like "Hard Candy" crossed with a smaller-scale "Deathtrap." Pierce acts with an enjoyably testy flamboyance, but by the time he starts to imagine that his guests have arrived even though dinner's been canceled, the film has given him one loose screw too many.
    • 54 Metascore
    • 58 Owen Gleiberman
    There's something sweet about the way that Murphy throws himself into this piffle. Thomas Haden Church does too.
    • 57 Metascore
    • 58 Owen Gleiberman
    Has a few viciously funny moments.
    • 56 Metascore
    • 58 Owen Gleiberman
    My Girl has some sweet, funny moments (the cast is uniformly appealing), yet it unfolds in a landscape of paralyzing, pop-psych banality.
    • 70 Metascore
    • 58 Owen Gleiberman
    Nothing in the two snail-paced hours of Pulse makes close to a shred of sense?
    • 52 Metascore
    • 58 Owen Gleiberman
    Agreeably mindless generation-next trash, but it leaves you hungry for a movie in which the characters are more than walking screenwriter index cards.
    • 75 Metascore
    • 58 Owen Gleiberman
    It's a tease of a satire that never really follows through on its audacious premise.
    • 67 Metascore
    • 58 Owen Gleiberman
    From its jokey, one-note characters to its endless baseball montages, A League of Their Own is all flash, all surface.
    • 45 Metascore
    • 58 Owen Gleiberman
    The original "Straw Dogs," at least to me, isn't close to being one of Peckinpah's masterpieces, but it's a movie that the people who first saw it still remember 40 years later. I doubt that anyone will remember the new one by next month.
    • 52 Metascore
    • 58 Owen Gleiberman
    Has my eye, seduced by the devious and tactile delights of ''Shrek,'' already evolved in tandem with the technological leaps in computer animation? Or is Atlantis simply a Disney dud?
    • 64 Metascore
    • 58 Owen Gleiberman
    Here's one case where it's no praise to say that a movie leaves you with more questions than answers.
    • 38 Metascore
    • 58 Owen Gleiberman
    Blunt-witted, visually pedestrian, and overly long, with too many scenes of Blade and his cohorts standing around in darkened corridors, waiting for their enemies to show up. The action, however, is as throat-grabbing as you want it to be.
    • 68 Metascore
    • 58 Owen Gleiberman
    It's slow and pretentious, full of craggy Bavarian snowscapes and dour "mystical" portents that seem to circle back to nothing but themselves.
    • 68 Metascore
    • 58 Owen Gleiberman
    Starts out well, but it turns into an almost perversely undramatic legal thriller.
    • 64 Metascore
    • 58 Owen Gleiberman
    For Patriot Games to have been more than a generic international thriller, it would have needed to take us deep inside the clandestine organizations — the IRA and the CIA — on which Clancy is fixated. That doesn’t happen.
    • 57 Metascore
    • 58 Owen Gleiberman
    By the time Army of Darkness turns into a retread of "Jason and the Argonauts," featuring an army of fighting skeletons, the film has fallen into a ditch between parody and spectacle.
    • 34 Metascore
    • 58 Owen Gleiberman
    Paula Patton is such a terrific actress that even in the ultra-tacky romantic comedy Baggage Claim, she gives a luminous, thought-out performance, not just walking through but digging into the role of an eager, nervous doormat with a people-pleasing grin.
    • 48 Metascore
    • 58 Owen Gleiberman
    Modine, as a morosely self-involved actor, looks as if he's about to strangle someone -- and the movie, an attack on superficiality, never quite makes it out of the shallow end.
    • 51 Metascore
    • 58 Owen Gleiberman
    This is how a fairy-tale movie gives us our money's worth today. Even if once upon a time, it was called overkill.
    • 33 Metascore
    • 58 Owen Gleiberman
    A splattery futuristic zombie thriller, designed as a jolt-a-minute freakout for young audiences who were numbed into submission long ago.
    • 68 Metascore
    • 58 Owen Gleiberman
    It has a few whispers of intrigue, but at the heart of The Bourne Identity lies a dispiriting paradox: The more that Jason Bourne learns about himself, the less arresting he seems.
    • 55 Metascore
    • 58 Owen Gleiberman
    I didn't mind The Terminal, but I didn't really buy it, either. Spielberg has crafted the film with a proficiency as seamless, and impersonal, as the setting, and you may feel, after a while, that you're longing for your departure time.
    • 46 Metascore
    • 58 Owen Gleiberman
    What starts off as a neighborhood scandal becomes a liberating thing for everyone involved - an attitude that seems as if it's trying to be oh so European, and might have been had the director, Julian Farino, not been working so hard to convince us of the Deep Inner Goodness of everyone involved.
    • 55 Metascore
    • 58 Owen Gleiberman
    Rendition certainly makes the case that torture, whatever name it goes under, is indefensible, yet one can agree with that view entirely and still feel that the movie is just a borderline exploitation of what anyone who reads the papers already knows.
    • 44 Metascore
    • 58 Owen Gleiberman
    Too arty by half.
    • 39 Metascore
    • 58 Owen Gleiberman
    Reynolds makes Hal a perfectly functional comic-book hero, but there's a big difference between functional and super.
    • 54 Metascore
    • 58 Owen Gleiberman
    Dare, a sweetly sexed-up high school triangle movie, is like a John Hughes comedy trying to pass itself off as ''transgressive.''
    • 35 Metascore
    • 58 Owen Gleiberman
    A dismayingly impersonal piece of anime, genial yet chaotic.
    • 50 Metascore
    • 58 Owen Gleiberman
    Propulsively outandish thriller.
    • 54 Metascore
    • 58 Owen Gleiberman
    Volatile yet fairly lunkheaded.
    • 54 Metascore
    • 58 Owen Gleiberman
    Bobby coasts along on a dread, and sorrow, it doesn't earn.
    • 28 Metascore
    • 58 Owen Gleiberman
    The Ugly Truth isn't fizzy and fun -- it's vacuously snappy.
    • 71 Metascore
    • 58 Owen Gleiberman
    Elegant yet surprisingly remote royal-court drama.
    • 47 Metascore
    • 58 Owen Gleiberman
    Makes you wish that Newell and company had had the gumption to finish what they so enticingly started.
    • 56 Metascore
    • 58 Owen Gleiberman
    Quick Change starts out fast and loose — it gets the audience primed for a ripsnorting caper comedy. Yet almost nothing that follows is as clever, as surprising, or as casually anarchic as that nifty opening sequence. Murray himself served as codirector, and though he doesn't do anything terribly wrong, the movie lacks comic zest.
    • 64 Metascore
    • 58 Owen Gleiberman
    A unintentionally funny fanzine-flavored documentary.
    • 37 Metascore
    • 58 Owen Gleiberman
    Nothing but mood... it simply has too few surprises to justify its indulgent atmosphere of malignant revelation.
    • 49 Metascore
    • 58 Owen Gleiberman
    People Like Us demonstrates how a drama can be heartfelt and bogus at the same time.
    • 40 Metascore
    • 58 Owen Gleiberman
    Vantage Point starts to slide off the rails when it tracks a tourist (Forest Whitaker) and his trusty camcorder; instead of Zapruder-like intrigue, the episode has him running around like an agent in a rote thriller.
    • 68 Metascore
    • 58 Owen Gleiberman
    There are funny bits in Amy Heckerling's high school sat-ire, but the characters are teen-movie zombies with no discernible personality apart from their trendoid obsessions.
    • 35 Metascore
    • 58 Owen Gleiberman
    The movie could have been a lot scarier.
    • 30 Metascore
    • 58 Owen Gleiberman
    This comedy about a couple who can't get pregnant is stuck between Judd Apatow's humane raunchiness and the American Pie series' smirky broadness.
    • 39 Metascore
    • 58 Owen Gleiberman
    Most of the film is a chintzy but watchable B-movie knockoff of "Gladiator," with Kit Harington, the English actor from "Game of Thrones," mustering very little in the way of facial expressivity in the role of Milo.
    • 54 Metascore
    • 58 Owen Gleiberman
    There are moments of lewd hilarity, like a game of footsie that turns genderifically confused. But Booty Call loses its dirty-minded, how-low-will-they-go-to-get-laid edge when the boys venture out into the New York night to buy condoms.
    • 56 Metascore
    • 58 Owen Gleiberman
    In the Land of Blood and Honey captures the sickening way the war in Bosnia became a gray zone of genocide. Yet that, unfortunately, is not enough to make it a good movie.
    • 56 Metascore
    • 58 Owen Gleiberman
    As the school drama teacher who tries to unlock ''the real,'' Patricia Clarkson makes high theatrical solemnity funny.
    • 32 Metascore
    • 58 Owen Gleiberman
    There are some clever and exciting sequences, but this $120 million epic of reconstituted Atomic Age trash lumbers more than it thrills.
    • 69 Metascore
    • 58 Owen Gleiberman
    Lee's images of black and white stereotypes are agreeably silly yet altogether too thin and vanilla safe.
    • 34 Metascore
    • 58 Owen Gleiberman
    The film is so brazen about its pandering, crumple-hearted silliness that it had me rooting for Vardalos to land her big fat Greek stud-muffin.
    • 49 Metascore
    • 58 Owen Gleiberman
    It may be an accidental historical parallel that, at times, we seem to be watching a 19th-century version of ''The John Walker Lindh Story,'' but the fluke is only enhanced by the weird anonymity of Ledger's performance.
    • 61 Metascore
    • 58 Owen Gleiberman
    Big Miracle is harmless enough, but what's annoying about it is its aura of fake activism. The movie doesn't seem to get that it's exactly when the news media began to devote more time to subjects like whales that it started to turn into news not for activists but for couch potatoes.
    • 42 Metascore
    • 58 Owen Gleiberman
    Schlock weeper.
    • 57 Metascore
    • 58 Owen Gleiberman
    Jackson, though, does lend this earnest formula flick a core of conviction.
    • 58 Metascore
    • 58 Owen Gleiberman
    Brothers isn't badly acted, but as directed by the increasingly impersonal Jim Sheridan, it's lumbering and heavy-handed, a film that piles on overwrought dramatic twists until it begins to creak under the weight of its presumed significance.
    • 56 Metascore
    • 58 Owen Gleiberman
    The movie is too cute to take itself too seriously, but it still feels like it was made by some very stoned college students.
    • 66 Metascore
    • 58 Owen Gleiberman
    For a while, the atmosphere seems just right. As Mrs. Parker goes on, it becomes apparent that the one-liners, droll as some of them are, aren't really going to coalesce into characters, scenes, dramatic encounters.
    • 50 Metascore
    • 58 Owen Gleiberman
    Sports betting is a great subject for a movie, but Two for the Money is short on the number-crunching nitty-gritty.
    • 53 Metascore
    • 58 Owen Gleiberman
    It's a boisterous and amiable movie but not, in the end, a very funny one.
    • 53 Metascore
    • 58 Owen Gleiberman
    Zombie doesn't pretend to be on the side of the victims. He makes no bones about his identification with the sexy outlaw serial killers.
    • 43 Metascore
    • 58 Owen Gleiberman
    A thriller of carefully cultivated murk. It's enigmatic in the worst sense, in that every explanation for what's going on holds less water than the last.
    • 60 Metascore
    • 58 Owen Gleiberman
    The movie gets mired in these deceptive mechanics. It shows no curiosity about the hatred, so the characters seem less than whole.
    • 58 Metascore
    • 58 Owen Gleiberman
    In Die Hard With a Vengeance, McTiernan stages individual sequences with great finesse (there's a terrific bit with Willis and five thugs in an elevator), yet they don't add up to a taut, dread-ridden whole.
    • 53 Metascore
    • 58 Owen Gleiberman
    Since Foster plays warming-up-for-a-straitjacket panic with a clenched intensity rare to behold in a Hollywood actress, I, for one, was rooting for the radical -- that is, nuthouse -- option.
    • 41 Metascore
    • 58 Owen Gleiberman
    What makes all of this ''fun,'' instead of dark or threatening, is that the victim was an idiot who leered at the class teases with horny glee.
    • 71 Metascore
    • 58 Owen Gleiberman
    Skillfully made, yet the film would have been better if it had tapped a bit of that Walken madness.
    • 48 Metascore
    • 58 Owen Gleiberman
    There’s every indication that director John Carpenter (Halloween) was trying for more than another rinky-dink Chevy Chase comedy. Except for the effects, though, Memoirs of an Invisible Man comes disappointingly close to being just that.
    • 75 Metascore
    • 58 Owen Gleiberman
    More noteworthy for its intentions than its execution.
    • 53 Metascore
    • 58 Owen Gleiberman
    The boys-in-the-Italian-hood clichés were penned by "Sopranos" scribe Terence Winter, so they have snap, if not freshness.
    • 59 Metascore
    • 58 Owen Gleiberman
    Petersen gives us monumental images of waves and rain and wind, but the editing is so choppy that the images don't build and crest.
    • 59 Metascore
    • 58 Owen Gleiberman
    Most of the movie feels like Farrell's performance: deeply sincere, and more showy than convincing.
    • 38 Metascore
    • 58 Owen Gleiberman
    It doesn't take long for the film to devolve into a ludicrously far-fetched Celebrity Death Wish.
    • 65 Metascore
    • 58 Owen Gleiberman
    Still, just about everything in Goldeneye, from its rote nuclear-weapon-in-space plot to the recitation of lines that sound like they're being read off stone tablets (''Shaken, not stirred!''), has been served up with a thirdhand generic competence that's more wearying than it is exhilarating.
    • 44 Metascore
    • 58 Owen Gleiberman
    It's a jerry-built kick-ass insult machine assembled entirely out of secondhand parts.
    • 16 Metascore
    • 58 Owen Gleiberman
    As Nomi, Elizabeth Berkley has exactly two emotions -- hot and bothered -- but her party-doll blowsiness works for the picture.
    • 57 Metascore
    • 58 Owen Gleiberman
    Winfrey's performance is full of stoic anger, and individual moments have ferocity and pull, yet you're always aware of them as moments.
    • 37 Metascore
    • 58 Owen Gleiberman
    The action climax just goes on and on, making The Lone Ranger the sort of movie that delivers too much too late and still manages to make it feel like too little.
    • 56 Metascore
    • 58 Owen Gleiberman
    Our senses may be the stuff of drama, but not when they're treated as nice and neat as this.
    • 36 Metascore
    • 58 Owen Gleiberman
    The new Arthur is a feathery screwball satire, competent on its own terms, yet as the movie went on I found it increasingly hard to separate the character's self-indulgence from that of the actor playing him.

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