Owen Gleiberman

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For 2,508 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 4.3 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Endless Poetry
Lowest review score: 0 I Woke Up Early the Day I Died
Score distribution:
2508 movie reviews
    • 69 Metascore
    • 42 Owen Gleiberman
    Too chicly depressive -- and, for the most part, too dull -- to bear.
    • 60 Metascore
    • 42 Owen Gleiberman
    Rigid, airless, and browbeatingly repetitive, Das Experiment is an overly didactic piece of thesis hectoring; it's like ''Lord of the Flies'' set in a Skinner box.
    • 36 Metascore
    • 42 Owen Gleiberman
    Her setups here are so witless and pedestrian that there's no imagination to the crude slapstick punchlines; we're just watching a bland jester pantomime sensory overload.
    • 36 Metascore
    • 42 Owen Gleiberman
    The more that secret comes out, the more incoherent (and ludicrous) the film gets.
    • 25 Metascore
    • 42 Owen Gleiberman
    The creepy-faced robot twin babies are funny (for a while); the rest of the film is not. It's like "Meet the Parents" with Dr. Phil as the officiant from hell.
    • 58 Metascore
    • 42 Owen Gleiberman
    The movie wants to be Hitchcockian, but it's the flat-footed Hitchcock of "Marnie" that Park evokes. His filmmaking here is hermetic and lugubrious, with each physical movement meaninglessly heightened and every line hanging in the air with (empty) significance.
    • 36 Metascore
    • 42 Owen Gleiberman
    Be wary of any movie in which the hero is monosyllabic and a stutterer at the same time.
    • 44 Metascore
    • 42 Owen Gleiberman
    The film's chief novelty turns out to be its drab ''literary'' approach to horror.
    • 57 Metascore
    • 42 Owen Gleiberman
    Scored to a disarmingly quaint array of fiddle-and-banjo tunes, The Newton Boys has so little in the way of blood or rancor that before long, you begin to notice that there's no real drama in it, either.
    • 36 Metascore
    • 42 Owen Gleiberman
    The problem with the movie isn't that it sells out Rocky and Bullwinkle -- it's that it can't keep up with them.
    • 70 Metascore
    • 42 Owen Gleiberman
    Traffics in the coyly blasphemous, aren't-we-dysfunctional family-disaster chic that has become the single most annoying trend in independent filmmaking.
    • 41 Metascore
    • 42 Owen Gleiberman
    I can't imagine what Dali or Buñuel would have made of such bourgeois sentimentality.
    • 27 Metascore
    • 42 Owen Gleiberman
    In this American remake of the spooky, more-atmospheric-than-coherent 2005 J-horror thriller, the ghosts blink and crackle into existence with an electromagnetic sputter, but really, they're not so different from the gauzy, see-through spirits of yesteryear.
    • 52 Metascore
    • 42 Owen Gleiberman
    The Monuments Men sounds like a what's-not-to-like? movie, but it turns out to be a bizarre failure.
    • 73 Metascore
    • 42 Owen Gleiberman
    Les Liaisons Dangereuses is such an elaborate and satisfying structure of deceit and salaciousness that every attempt I have seen to adapt it on film -- "Dangerous Liaisons," "Cruel Intentions," even the trashy 1959 Roger Vadim version -- has resulted in an entertainment of agreeable nasty elegance. Until now.
    • 33 Metascore
    • 42 Owen Gleiberman
    Extraordinarily faithful to the spirit of that creaky, derivative, fly-infested, don't-go-in-the-attic boofest.
    • 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.
    • 43 Metascore
    • 42 Owen Gleiberman
    Just when you thought it was safe to go to the movies without sitting through another imitation of early Quentin Tarantino, along comes Suicide Kings.
    • 70 Metascore
    • 42 Owen Gleiberman
    Little more than a plodding celebration of global television trumping everything in its midst.
    • 69 Metascore
    • 42 Owen Gleiberman
    Director Gaspar Noé proved a shock poet in "Irreversible" (2003). In Enter the Void, he's a shockingly tedious show-off.
    • 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.
    • 28 Metascore
    • 42 Owen Gleiberman
    The dumbing down of low-IQ sentimentality.
    • 46 Metascore
    • 42 Owen Gleiberman
    This is a movie of fake conflict, fake heart, even fake doggy love.
    • 39 Metascore
    • 42 Owen Gleiberman
    A cumbersome dud, grows draggier with each new revelation.
    • 56 Metascore
    • 42 Owen Gleiberman
    The film is so committed to its view of Ezra as a pawn in the psychotic game of postcolonial Africa that he is never allowed, as a character, to become more than a pawn.
    • 45 Metascore
    • 42 Owen Gleiberman
    If any actor could reveal the squirmy soul of a war criminal, it's Caine, so it feels like a cheat when The Statement gives him nothing to portray but self-condemnation.
    • 35 Metascore
    • 42 Owen Gleiberman
    This suburban gothic is a logy, convoluted mess.
    • 52 Metascore
    • 42 Owen Gleiberman
    The faux espionage plot, with its winks at terrorism, is really just a convoluted plea for the relevance of precious indie artistes (i.e., Hal Hartley).
    • 36 Metascore
    • 42 Owen Gleiberman
    Keeps teasing you with intimations of the libidinous animal within.
    • 52 Metascore
    • 42 Owen Gleiberman
    The Nativity Story is a film of tame picture-book sincerity, but that's not the same thing as devotion. The movie is too tepid to feel, or see, the light.
    • 62 Metascore
    • 42 Owen Gleiberman
    The movie, a piece of luridly baroque metaphysical trash, is about a Vietnam veteran who keeps getting jolted by demonic visions.
    • 63 Metascore
    • 42 Owen Gleiberman
    Achieves the near-impossible: It turns the Marquis de Sade into a dullard.
    • 46 Metascore
    • 42 Owen Gleiberman
    For a light comedy, The Nanny Diaries turns out to have an off-putting theme. It glorifies the romance of slumming.
    • 51 Metascore
    • 42 Owen Gleiberman
    So riddled with cultural stereotypes, woe-is-me neurotic mopiness, and glib therapeutic compassion that by the end all it leaves you with is a waxy buildup of falseness.
    • 37 Metascore
    • 42 Owen Gleiberman
    It's not just that Tony Soprano is richer, darker, cooler, and scarier. The dude gets more laughs.
    • 43 Metascore
    • 42 Owen Gleiberman
    Cronenberg directs this doomed romance in the same flat, claustrophobic, night-of-the-zombies style he employed in ''Naked Lunch''; as a dramatist, he's still stuck in Interzone.
    • 20 Metascore
    • 42 Owen Gleiberman
    Populated by ersatz versions of stars who, in this case, are fairly vanilla to begin with.
    • 28 Metascore
    • 42 Owen Gleiberman
    A remake of the 1986 suspense ''classic,'' is as processed and hoot-worthy as the original.
    • 53 Metascore
    • 42 Owen Gleiberman
    The ultimate crime of this paranoid enemy-of-the-state pulp, directed with more style than brains by Antoine Fuqua (Training Day), is how dull it is.
    • 61 Metascore
    • 42 Owen Gleiberman
    It’s got some talented actors and a certain jagged inner-city atmosphere, yet this first feature directed by Mario Van Peebles (son of the veteran black director Melvin Van Peebles) is little more than a sketchy exploitation melodrama.
    • 45 Metascore
    • 42 Owen Gleiberman
    The award for the most annoying character to appear in a movie so far this year turns out to be a tie: It goes to both of the oh-so-swankly tormented romantic mischief makers of Love Me if You Dare.
    • 45 Metascore
    • 42 Owen Gleiberman
    Upside Down is a very fancy piece of junk.
    • 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.
    • 65 Metascore
    • 42 Owen Gleiberman
    A movie overtly designed to win attention (and not to do much else).
    • 64 Metascore
    • 42 Owen Gleiberman
    Has the taint of exploitation.
    • 50 Metascore
    • 42 Owen Gleiberman
    The title translates, roughly, as ''This & That,'' a confectionary shrug that pretty well sums up the blasé inconsequentiality of it all.
    • 47 Metascore
    • 42 Owen Gleiberman
    Like Mike has the synthetically wrapped pseudo-charm of a perfunctory ''Flubber'' sequel.
    • 33 Metascore
    • 42 Owen Gleiberman
    Seems to have been given the comedy equivalent of blood thinner. It has the blazing satirical boldness to skewer the first Tobey Maguire Spider-Man -- and, amazingly, not much else.
    • 64 Metascore
    • 42 Owen Gleiberman
    Sokurov's new companion piece (to "Mother and Son"), has the tedium without the trance.
    • 48 Metascore
    • 42 Owen Gleiberman
    The things that once made Neil LaBute's movies seem like tossed grenades — the loutish protagonists, the sadism toward women — now come off as more dated than scandalous.
    • 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.
    • 66 Metascore
    • 42 Owen Gleiberman
    The best thing in the movie is Arterton's sultry, claw-baring turn, but mostly it's a rudderless riff on "Let the Right One In."
    • 36 Metascore
    • 42 Owen Gleiberman
    The image of this kitchen-magician dream robot comes at us in little jolts and spasms that have the zappy, self-contained rhythm of a fast-food tie-in commercial.
    • 37 Metascore
    • 42 Owen Gleiberman
    Adore has the distinction of featuring some of the most laughable dialogue in any movie this year.
    • 41 Metascore
    • 42 Owen Gleiberman
    It's like a series of cliches exploding in your face.
    • 52 Metascore
    • 42 Owen Gleiberman
    LUV
    The rapper and actor Common has become a highly skilled screen star, but this touchy-feely dud does him wrong.
    • 34 Metascore
    • 42 Owen Gleiberman
    Clyde is meant to be nuts, but too often it's Law Abiding Citizen that checks rationality at the door.
    • 66 Metascore
    • 42 Owen Gleiberman
    The British director Ken Loach can be a master of working-class realism, but not in this cranky, rudderless shambles.
    • 49 Metascore
    • 42 Owen Gleiberman
    Really, who needs a bad guy who's this guilty about being bad?
    • 30 Metascore
    • 42 Owen Gleiberman
    The dialogue is chintzy and rhythmless.
    • 35 Metascore
    • 42 Owen Gleiberman
    Stealth, a dregs-of-summer knockoff, is too ponderous and inept to serve a comparable function now, yet the film's lack of thrust may be related to an absence of conviction about its own war-is-a-videogame clichés.
    • 45 Metascore
    • 42 Owen Gleiberman
    A primer no one needed, Where in the World Is Osama bin Laden? should have been called "The Post-9/11 World for Dummies."
    • 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.
    • 26 Metascore
    • 42 Owen Gleiberman
    Soft-core trash with a tent-show hook.
    • 44 Metascore
    • 42 Owen Gleiberman
    Feels like an attempt to rebottle the postmodern fizz of Wes Anderson's "Bottle Rocket." I wish instead they'd put a stopper in it.
    • 52 Metascore
    • 42 Owen Gleiberman
    In the history of rock-star indulgence on film, I would rank it somewhere between Bob Dylan's epic carnival of pretension ''Renaldo & Clara'' and the overblown messianic doldrums of 1982's ''Pink Floyd The Wall.''
    • 28 Metascore
    • 42 Owen Gleiberman
    Gory but dramatically inert vampire schlocker.
    • 36 Metascore
    • 42 Owen Gleiberman
    The film suggests Titanic in a giant wading pool.
    • 68 Metascore
    • 42 Owen Gleiberman
    Overheated yet bizarrely opaque criminal character study from Belgium.
    • 53 Metascore
    • 42 Owen Gleiberman
    The only brazen thing about the film is how shamelessly it rips off "School of Rock."
    • 51 Metascore
    • 42 Owen Gleiberman
    An Australian crime caper that's one part ''Sexy Beast,'' one part ''The Full Monty,'' and three parts very flat soda.
    • 55 Metascore
    • 42 Owen Gleiberman
    It's a tale that reduces angst, not to mention love, to a generational tic.
    • 54 Metascore
    • 42 Owen Gleiberman
    A sentimental epic that forgets to include the sentiment
    • 47 Metascore
    • 42 Owen Gleiberman
    It's no coincidence that The Box plays like the world's murkiest Twilight Zone episode. It's loosely based on ''Button, Button,'' a short story by Richard Matheson, who wrote some of the series' greatest scripts.
    • 33 Metascore
    • 42 Owen Gleiberman
    Aspires to blasphemy but achieves only banality.
    • 31 Metascore
    • 42 Owen Gleiberman
    Without that heightened racial antipathy-turned-camaraderie, there's not a whole lot to Cop Out besides watching Kevin Smith pretend, with a crudeness that is simply boring, that he's an action director making a comic thriller about cops versus a Mexican drug gang (yawn).
    • 36 Metascore
    • 40 Owen Gleiberman
    In Assassin’s Creed, Michael Fassbender is like the ultimate special effect. Just by showing up, he confers respectability on two hours of semi-coherent overly art-directed video-game sludge.
    • 50 Metascore
    • 40 Owen Gleiberman
    The film keeps acting like it has something big to tell us; it plods and broods with self-importance. Yet in almost every crucial way, The Yellow Birds is a flat and listless piece of moviemaking, a monotonous indie dirge.
    • 73 Metascore
    • 40 Owen Gleiberman
    My Entire High School Sinking Into the Sea feels like a first draft, the one that needed to be written before the second draft added flesh and blood.
    • 50 Metascore
    • 40 Owen Gleiberman
    If a diagram were the same thing as a script, then Therapy for a Vampire might be a smashingly silly lark. But as written and directed by Daniel Ruehl, the film is a blueprint of mild anemic kitsch.
    • 23 Metascore
    • 40 Owen Gleiberman
    There’s a story, and a mythology, and a prestige actress who knows how to push moodiness to the point that, in this series, it’s just about her only mood, but none of it, in the end, gets in the way of the splatter.
    • tbd Metascore
    • 40 Owen Gleiberman
    There’s hardly a moment in Dangal that doesn’t go according to the numbers, but after 160 minutes’ worth of formula, the movie certainly hits a note of touching tribute to the way girl power is sweeping the world.
    • 42 Metascore
    • 40 Owen Gleiberman
    The Duel promises a battle of wits and wills, then turns into a violent grab-bag. But it does make you want to see Woody Harrelson get another movie worthy of his leering bald Nietzschean bravura.
    • 40 Metascore
    • 40 Owen Gleiberman
    The Fabios appear to have some talent, but not a lot of common sense. They’ve made a land-mine suspense thriller with a few heart-in-the-throat, hair-trigger moments, but Mine is so eager to be a “metaphor” (it’s a little Beckett, a little Tarantino, a little Lifetime channel) that it’s the film’s pretension that winds up exploding in your face.
    • 38 Metascore
    • 40 Owen Gleiberman
    Minus a hero who has the macho charisma to wrap a movie around him like he owned it, the new Ben-Hur is an oddly lackluster affair: sludgy and plodding, photographed (by Oliver Wood) in nondescript medium close-up, an epic that feels like a mini-series served up in bits and pieces.
    • 65 Metascore
    • 40 Owen Gleiberman
    The technical bravura that Guiraudie summoned in “Stranger” — the subtle manipulation of light, weather, shot language, and temporal cunning — now falls by the wayside in a story that lurches from episode to disconnected episode.
    • 30 Metascore
    • 40 Owen Gleiberman
    It’s another of Perry’s raucous and slovenly comedies of responsibility, which means that its heart is in a very old — and right — place. If only a message that was this solid equalled solid laughs.
    • 33 Metascore
    • 40 Owen Gleiberman
    Sleepless is a propulsive thin exercise, “energetic” but tedious, the kind of January movie that Jamie Foxx should have permanently graduated from. Foxx is too good an actor — taut and committed — to phone in his performance, yet that hardly matters, since the whole movie is phoned in. It’s far from incompetent, but it’s a who-cares? thriller.

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