Owen Gleiberman

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For 2,385 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 5.3 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 It Might Get Loud
Lowest review score: 0 Snow Day
Score distribution:
2385 movie reviews
    • 50 Metascore
    • 50 Owen Gleiberman
    It's a tale soggy with the kind of race/class lessons that Madea, the director-star's battle-ax alter ego, doles out far more handily (and entertainingly) in a single church-lady-from-hell zinger.
    • 25 Metascore
    • 50 Owen Gleiberman
    Obsessed has little plausibility, but at moments it's an entertaining bad movie, and the performers are vivid.
    • 72 Metascore
    • 50 Owen Gleiberman
    12
    Has none of the crisp passion or suspense of the 1957 Sidney Lumet version; it's bloated, heavy-handed, and lugubrious.
    • 35 Metascore
    • 50 Owen Gleiberman
    He squeezes a bit of suspenseful juice out of the old plot, and Douglas makes smarm a chewy pleasure, but this is a noir in search of a hero we can root for because we actually buy what he’s doing.
    • 64 Metascore
    • 50 Owen Gleiberman
    The upshot is that those who appear to be guilty may not be -- a muddled message for our time.
    • 32 Metascore
    • 50 Owen Gleiberman
    Land of the Lost has stray amusing tidbits, but overall it leaves you feeling splattered.
    • 51 Metascore
    • 50 Owen Gleiberman
    Moretti makes this ''study'' in despair a naggingly neutral, at times borderline coy experience.
    • 57 Metascore
    • 50 Owen Gleiberman
    Daybreakers turns?into a ponderous apocalyptic chase film -- it's like "Children of Men" with exploding-plasma shock effects.
    • 33 Metascore
    • 50 Owen Gleiberman
    The trouble with the movie, apart from its rather monotonous dourness of tone, is that everyone in the family, especially the reformed-delinquent high school son (Penn Badgley), comes off as tougher, smarter, and quicker on the draw than the stepfather who's supposed to be outfoxing them.
    • 44 Metascore
    • 50 Owen Gleiberman
    Daniels plays Arlen with a kind of cuddly crankiness; he makes him a jerk who just needs a hug.
    • 43 Metascore
    • 50 Owen Gleiberman
    The whole movie is pat -- very pleased with itself for being so up front about the ways of a 21st-century man-whore.
    • 53 Metascore
    • 50 Owen Gleiberman
    In the film's rather humdrum 3-D, the place doesn't dazzle — it droops.
    • 53 Metascore
    • 50 Owen Gleiberman
    A feel-good movie that never stops feeling good. The film is based on a true story (it was adapted from a nonfiction best-seller by Michael Lewis), but you never feel that Hancock has honestly captured what's true about it.
    • 34 Metascore
    • 50 Owen Gleiberman
    Too often, The Fourth Kind makes the paranormal look disappointingly normal.
    • 49 Metascore
    • 50 Owen Gleiberman
    The trouble is, it's all too exhibitionistic to ring true. The impotent folly of Antichrist is that von Trier has made it his mission to shock the bourgeoisie in an era when they can no longer be shocked.
    • 49 Metascore
    • 50 Owen Gleiberman
    The numbers, while lively, remain cluttered and stage-bound. The women, however, are spirited and sexy.
    • 48 Metascore
    • 50 Owen Gleiberman
    It's all very sincere, but watching a dweebish depressive learn that Life Is Good is a lesson of diminishing returns.
    • 42 Metascore
    • 50 Owen Gleiberman
    A ''fun trash'' movie that's more trash than fun.
    • 55 Metascore
    • 50 Owen Gleiberman
    Here's what I can say for sure about the humanoid attackers in the new version of The Crazies: They're not very interesting.
    • 22 Metascore
    • 50 Owen Gleiberman
    In The Bounty Hunter, the couple that foils a bunch of tiresome grade-C thriller goons together stays together. Whether or not that's a recipe for love, it's certainly not a formula for romantic-comedy magic.
    • 81 Metascore
    • 50 Owen Gleiberman
    Regrettably, the film's story is so busy yet flat that the effect isn't magical -- it's more like watching the tale of some very enchanted wallpaper.
    • 46 Metascore
    • 50 Owen Gleiberman
    If you're hungry to see a romantic comedy about a genetically and culturally imbalanced geek-meets-babe relationship that makes the one in Knocked Up look like the quintessence of plausible human mating, then by all means subject yourself to the one-joke sub–Judd Apatow snark-athon that is She's Out of My League.
    • 73 Metascore
    • 50 Owen Gleiberman
    Catherine Breillat, the French director of "Fat Girl", blends victim feminism with the threat of slasher violence in this arid ''deconstruction'' of Bluebeard, the wife killer of legend.
    • 48 Metascore
    • 50 Owen Gleiberman
    The film is Moore's story, and she acts the hell out of one sexy scene, but most of Chloe is plodding and drab.
    • 20 Metascore
    • 50 Owen Gleiberman
    The movie is "Star Wars" with martial arts, plus a touch of "The Last Emperor." Technically, it's not badly done; I enjoyed the physical clash of elements, the water balls rising like sculpture in the air.
    • 61 Metascore
    • 50 Owen Gleiberman
    The role requires Clooney to dial down his charm to nearly zero, and frankly, he looks twitchy and uncomfortable without it.
    • 64 Metascore
    • 50 Owen Gleiberman
    This rotely cheeky, Anglo-plastic adultery comedy is set in the golden-green English countryside, and it makes a few quirky nods toward artistry, but it's really just a glib concoction.
    • 60 Metascore
    • 50 Owen Gleiberman
    Mostly an epic rehash of the tale Larsson has already told, and that makes it, at two hours and 28 minutes, the first movie in the series that never catches fire.
    • 37 Metascore
    • 50 Owen Gleiberman
    The Tourist isn't a debacle, but it's a caper that's fatally low on carbonation.
    • 28 Metascore
    • 50 Owen Gleiberman
    The best thing about it is Claire Foy's performance as the seething, caged is-she-a-witch?. Foy, like a Brit Kristen Stewart, has an entrancing sparkle of disdain.
    • 49 Metascore
    • 50 Owen Gleiberman
    As it is, The Mechanic is ham-fisted pulp, like Robert Rodriguez's "Machete" taking itself seriously.
    • 63 Metascore
    • 50 Owen Gleiberman
    Rio
    The soundtrack, overseen by Sergio Mendes, has a few lively bossa nova moments, but not nearly enough.
    • 55 Metascore
    • 50 Owen Gleiberman
    The movie is stiff-jointed and dull.
    • 51 Metascore
    • 50 Owen Gleiberman
    The role of a former star of the "golden age" of porn sounds perfect for Kim Cattrall, and she handles it nicely - at least, in the rare moments when this indie comedy isn't terminally contrived.
    • 45 Metascore
    • 50 Owen Gleiberman
    As the checkout girl everyone's got a crush on, Natalie Portman makes a winsome return to her "Garden State" gawkiness.
    • 45 Metascore
    • 50 Owen Gleiberman
    On Stranger Tides isn't nearly strange enough. Its one real act of piracy is stealing away your excitement.
    • 76 Metascore
    • 50 Owen Gleiberman
    The film is so self-conscious it seems to be dictating your every reaction.
    • 47 Metascore
    • 50 Owen Gleiberman
    We're just watching a film try to pass off misanthropic blunt-wittedness as "edge."
    • 25 Metascore
    • 50 Owen Gleiberman
    Director John Singleton offers bits of suspense, but Abduction is less a movie than a piece of engineering, a glumly ludicrous cat-and-mouse blowout designed to win Lautner male fans along with his girl demo.
    • 65 Metascore
    • 50 Owen Gleiberman
    Puss in Boots is beautifully animated (with 3-D that adds nothing), but the film is so mindlessly busy that it seems to be trying to distract you from the likable, one-note feline swashbuckler at its center.
    • 56 Metascore
    • 50 Owen Gleiberman
    To the audience, this stuff seems like awfully old news. We're supposed to be witnessing the birth of a great journalist, but Hunter S. Thompson, as his career went on, got swallowed up by his mystique as an outlaw of excess. In The Rum Diary, that myth becomes an excuse for a movie to go slumming.
    • 74 Metascore
    • 50 Owen Gleiberman
    The film has the same moral design as "Dead Man Walking," but since it never gets inside the darkness of the killers' minds, it's really just a rambling episode of "A Current Affair."
    • 68 Metascore
    • 50 Owen Gleiberman
    Even a filmmaker as dazzling as Steven Spielberg has to create characters who lure us into their point of view, and the trouble with Tintin is that we're always on the outside, looking in. What all that motion can't capture is our hearts.
    • 67 Metascore
    • 50 Owen Gleiberman
    It's all very sub-Tarantino showy and empty - at least, until the head-scratching climax, which tries to be "Eyes Wide Shut," "The Wicker Man," and "The Twilight Zone" all at once, but only makes you wish that you were watching one of them instead.
    • 53 Metascore
    • 50 Owen Gleiberman
    Is it possible for an actor to go through the motions even as he's going over the top? In Being Flynn, Robert De Niro does phoned-in scenery chewing.
    • 54 Metascore
    • 50 Owen Gleiberman
    One of Dafoe's deadbeat friends observes, ''The world's been ending ever since it started, man,'' and you may think the same thing about this movie.
    • 41 Metascore
    • 50 Owen Gleiberman
    Lawrence Kasdan's comedy strikes a note of rib-nudging blah coyness that feels very 1987.
    • 39 Metascore
    • 50 Owen Gleiberman
    The Lucky One doesn't have the schlock rapture of "The Notebook" (the one Sparks adaptation that has really worked). The trouble with the movie isn't that it's too girly-swoony; it's that it tries to achieve emotion through glowy sunsets and a paint-by-numbers script.
    • 44 Metascore
    • 50 Owen Gleiberman
    The film, devising events that led up to his mysterious death in 1849, is also the most gruesomely literal-minded of period detective stories.
    • 56 Metascore
    • 50 Owen Gleiberman
    Bobcat Goldthwait's new movie is a burlesque that turns into a harangue that turns into a rampage.
    • 47 Metascore
    • 50 Owen Gleiberman
    Most of the numbers in Rock of Ages are flatly shot and choreographed, and they look as if they'd been edited together with a meat cleaver. With rare exceptions, they don't channel the excitement of the music - they stultify it.
    • 66 Metascore
    • 50 Owen Gleiberman
    Fourteen years after "Happiness," why is director Todd Solondz still mucking around with the sort of idiot neurotic dweeb who makes George Costanza look like George Clooney?
    • 67 Metascore
    • 50 Owen Gleiberman
    Benoît Jacquot's film is shackled to a blah bourgeois leftism.
    • 57 Metascore
    • 50 Owen Gleiberman
    The shots of urban traffic jams have more spark than the story, which skips from a pregnancy to the filming of a musical to murder - without convincing us of any of it.
    • 43 Metascore
    • 50 Owen Gleiberman
    This one is somberly kinetic and joyless.
    • 58 Metascore
    • 50 Owen Gleiberman
    The film comes off as an elaborately didactic and overheated lecture.
    • 50 Metascore
    • 50 Owen Gleiberman
    The trouble with Guillaume Canet's French gloss on "The Big Chill" is that it has no underlying chill.
    • 46 Metascore
    • 50 Owen Gleiberman
    The Comedy pretends to be a satire of entitlement, but it's made in a style so indulgent that the whole film feels entitled in the extreme.
    • 73 Metascore
    • 50 Owen Gleiberman
    Cotillard, with stringy long hair and a coal fire of severity in her eyes, has what it takes to play a woman who feels that she's lost everything. But she's forced to flail and mood-swing from scene to scene. In an insult to the disabled, there is never much to her but her hellacious injury.
    • 52 Metascore
    • 50 Owen Gleiberman
    There isn't much to the characters in this morose thriller.
    • 36 Metascore
    • 50 Owen Gleiberman
    In the occasionally funny but mostly facile '80s-style culture-clash comedy Parental Guidance, Billy Crystal, who now resembles a very cute puffer fish, plays Artie Decker.
    • 31 Metascore
    • 50 Owen Gleiberman
    A sign of how desperate the series' producers have become is that the big twist here is that Leatherface, the slobby butcher-boy demon in his mask of human skin, is now...the good guy. (That's a ''jump the chainsaw'' concept if ever there was one.)
    • 40 Metascore
    • 50 Owen Gleiberman
    Brolin and Gosling are both supposed to be playing World War II veterans who bring their knowledge of battle into the tough turf of the streets, but that's just a concept that the sketchy, half-baked script tosses out there.
    • 41 Metascore
    • 50 Owen Gleiberman
    The countdown-to-Armageddon structure generates almost no tension, but Olympus Has Fallen does have lots of squalidly bloody hand-to-hand action, all of which is so pulpy and standardthat the film actually makes you grateful for the presence of Gerard Butler, gnashing his teeth in the Bruce Willis role.
    • 62 Metascore
    • 50 Owen Gleiberman
    By the end, every child in the audience will want his or her own monster-minion toy. Adults will just regret the way that Despicable Me 2 betrays the original film’s devotion to bad-guy gaiety.
    • 42 Metascore
    • 50 Owen Gleiberman
    The film has flashes of psychedelic visual energy, but its story is limp.
    • 34 Metascore
    • 50 Owen Gleiberman
    The trouble with this stunted sequel is that the doughy, blobby-hatted Smurfs are mostly window dressing for an abrasive slapstick bash built around a tiresome kidnap plot, pancake-flat gags about Facebook and ''Smurf-holm Syndrome,'' and Neil Patrick Harris mugging his way through the role of a daddy with daddy issues who once again helps out our heroes.
    • 53 Metascore
    • 50 Owen Gleiberman
    Passion turns into vintage De Palma — which is to say, the film seems almost engineered to get you giggling at the extravagance of its absurdity. Any enthusiasm in the viewer is bound to be a shadow of the film's passion for itself.
    • 30 Metascore
    • 50 Owen Gleiberman
    If you're not at the bull's-eye center of the target audience, a movie like this one can suck the life out of you.
    • 48 Metascore
    • 50 Owen Gleiberman
    The plot is more confusing than clever, and the only actor who seems to be having any fun is Silver, who's at his best throwing masochistic hissy fits at his younger, not-quite-so-evil self.
    • 51 Metascore
    • 50 Owen Gleiberman
    The Neon Demon is a tease. It starts off as a relatively scannable, user-friendly thriller, but it turns out to be a movie made by a macabre surrealist gross-out prankster.
    • 68 Metascore
    • 50 Owen Gleiberman
    It longs to be a close-to-the-bone lampoon in the scathing spirit of Christopher Guest, and it has a few amusing moments, but it’s really a predigested one-joke comedy. It’s less an honest satire than an overscaled satirical package.
    • 52 Metascore
    • 50 Owen Gleiberman
    It delivers — on some basic, giddy, turn-off-your-frontal-lobes level. It’s an action-comedy utensil, like “Rush Hour” crossed with an old Arnold Schwarzenegger shoot-’em-up, with a few goofy added sprinkles of “Romy and Michele’s High School Reunion.”
    • 53 Metascore
    • 50 Owen Gleiberman
    For all the ravaged surface appeal of McConaughey’s performance, the character is a little too good to be true, but then, that’s just the sort of movie Free State of Jones is. It’s a tale of racial liberation and heroic bloodshed that is designed, at almost every turn, to lift us up to that special place where we can all feel moved by what good liberals we are.
    • 66 Metascore
    • 50 Owen Gleiberman
    It’s not necessary, of course, for The Phenom to be an all-out sports drama, but writer-director Noah Buschel sets up the rare opportunity to explore what makes a jock tick, then doesn’t follow through.
    • 52 Metascore
    • 42 Owen Gleiberman
    A lurid hodgepodge of the ''subversive'' and the secondhand, the movie lacks the primal pop pleasures of Lynch's best work.
    • 30 Metascore
    • 42 Owen Gleiberman
    The dialogue is chintzy and rhythmless.
    • 45 Metascore
    • 42 Owen Gleiberman
    There are many things wrong with Novocaine, but the film's most gnawing pain is its clodhopper farfetchedness.
    • 64 Metascore
    • 42 Owen Gleiberman
    A turgid muddle of romance, espionage, and geek valor, despite intimations that it might have turned into ''A Reasonably Dapper-Looking Mind.''
    • 45 Metascore
    • 42 Owen Gleiberman
    After too many ''Full Monty''s, it has come to look like nothing so much as a coy ritual of emasculation.
    • 36 Metascore
    • 42 Owen Gleiberman
    Hartley is trapped between sincerity and mock sincerity, and that all but dooms a filmmaker to slipping through the cracks.
    • 44 Metascore
    • 42 Owen Gleiberman
    An inert screwball cartoon, a celebration of monogamy as fashion statement.
    • 39 Metascore
    • 42 Owen Gleiberman
    A cumbersome dud, grows draggier with each new revelation.
    • 63 Metascore
    • 42 Owen Gleiberman
    Achieves the near-impossible: It turns the Marquis de Sade into a dullard.
    • 56 Metascore
    • 42 Owen Gleiberman
    An embarrassment--a fairy-tale showbiz satire that seems to defang itself, scene by scene.
    • 25 Metascore
    • 42 Owen Gleiberman
    It's hardly much of a thrill to see The One recycle, on a lower budget, the slo-mo bullet dodges from "The Matrix," along with unspectacular variations on several other of that film's time-bending demolition-ballet effects.
    • 70 Metascore
    • 42 Owen Gleiberman
    Little more than a plodding celebration of global television trumping everything in its midst.
    • 65 Metascore
    • 42 Owen Gleiberman
    More and more independent filmmakers seem to be cobbling together characters and scenes that have surface hook and flash without organic emotional logic.
    • 54 Metascore
    • 42 Owen Gleiberman
    A sentimental epic that forgets to include the sentiment
    • 54 Metascore
    • 42 Owen Gleiberman
    There's precious little in Luc Besson's solemnly inflated, battle-weary historical epic.
    • 75 Metascore
    • 42 Owen Gleiberman
    It sounds churlish to argue that a movie can have too much integrity for its own good, but that's exactly the problem with La Ciénaga.
    • 36 Metascore
    • 42 Owen Gleiberman
    Be wary of any movie in which the hero is monosyllabic and a stutterer at the same time.
    • 33 Metascore
    • 42 Owen Gleiberman
    Aspires to blasphemy but achieves only banality.
    • 54 Metascore
    • 42 Owen Gleiberman
    Seems populated yet uninhabited; the only real star is the gloom.
    • 16 Metascore
    • 42 Owen Gleiberman
    Presents undercover law enforcement less as a profession than as an accessory, an excuse to pout and glower chicly, to stand around in nightclubs acting like a sullen version of the Last American Rebel.
    • 47 Metascore
    • 42 Owen Gleiberman
    Like Mike has the synthetically wrapped pseudo-charm of a perfunctory ''Flubber'' sequel.
    • 26 Metascore
    • 42 Owen Gleiberman
    Soft-core trash with a tent-show hook.
    • 26 Metascore
    • 42 Owen Gleiberman
    One of those desultory F/X and no script potboilers that seems to restart itself with every new scene.
    • 43 Metascore
    • 42 Owen Gleiberman
    A send-up of rap personality in which no one actually has a personality. The joke, alas, is on the movie.
    • 60 Metascore
    • 42 Owen Gleiberman
    Quite honestly, you could nap for an hour and not miss a thing, but when the crew finally makes it to the glowing piles of booty at Treasure Planet's core, the film unleashes some pleasing visual fireworks. That's where it should have started, not ended.

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