Owen Gleiberman

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For 2,509 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 A Hard Day's Night (re-release)
Lowest review score: 0 Snow Day
Score distribution:
2509 movie reviews
    • 57 Metascore
    • 91 Owen Gleiberman
    Turns out to be a supple, intriguing, and beautifully staged movie. It features Dillon, in his most forceful performance since ''Drugstore Cowboy.''
    • 74 Metascore
    • 91 Owen Gleiberman
    Rouses you in conventional ways, but it's also the rare animated film that uses 3-D for its breathtaking spatial and emotional possibilities.
    • 63 Metascore
    • 91 Owen Gleiberman
    Harmony Korine's first ''mainstream'' movie, Spring Breakers, is by far the best thing he's ever done.
    • 45 Metascore
    • 91 Owen Gleiberman
    The result is a wacked kiddie Rashomon in which the different versions dovetail with a logic as impeccable as it is flat-out buggy. So who do we root for? Everyone and no one. Hoodwinked's most radical feature is that it's a ride without heroes.
    • 69 Metascore
    • 91 Owen Gleiberman
    The movie never loses its affectionate, shaggy-dog sense of America as a place in which people, by now, have almost too much freedom on their hands.
    • 76 Metascore
    • 91 Owen Gleiberman
    A dazzlingly crafted documentary about the teenage surf punks of lower Los Angeles who singlehandedly transformed skateboarding into the extreme sport it has become.
    • 80 Metascore
    • 91 Owen Gleiberman
    Wendy and Lucy is like "Lassie Come Home" directed by Antonioni. What's piercing about it, and also disturbing, is that Reichardt views the renunciation of society with something close to righteous purity -- as a lefty romantic dream.
    • 78 Metascore
    • 91 Owen Gleiberman
    All of Kung Fu Hustle is like that: You don't just watch it, you ride with it, laughing all the way.
    • 64 Metascore
    • 91 Owen Gleiberman
    The movie excoriates the hypocrisy of self-hating gay lawmakers (several of whom it outs), yet it also explores the burden of the public closet.
    • 73 Metascore
    • 91 Owen Gleiberman
    The beauty of Into the Wild, which Penn has written and directed with magnificent precision and imaginative grace, is that what Christopher is running from is never as important as what he's running TO.
    • 70 Metascore
    • 91 Owen Gleiberman
    Morris, using a welter of photographs (many of which we haven't seen), constructs a day-to-day sense of how Abu Ghraib descended into a medieval hell.
    • 54 Metascore
    • 91 Owen Gleiberman
    The movie is a toxic dart aimed at the spangly new heart of American hypocrisy: our fake-tolerant, fake-charitable, fake-liberated-yet-still madly-closeted fame culture.
    • 90 Metascore
    • 91 Owen Gleiberman
    Crowe, staying close to his memories, has gotten it, for perhaps the first time, onto the screen.
    • 60 Metascore
    • 91 Owen Gleiberman
    A smashingly effective documentary -- I found it more resonant than ''Fahrenheit 9/11'' -- yet to say that it's preaching to the converted would be generous; it's preaching to a microscopic sliver of the converted.
    • 62 Metascore
    • 91 Owen Gleiberman
    It's a fearless and brilliant racial-historical satire, done in a meticulous re-creation of the Ken Burns mode, that chronicles the last 150 years of America as if the South had won the Civil War.
    • 69 Metascore
    • 91 Owen Gleiberman
    One of the pleasures of The Bank Job is that it returns us to the days when robbing a bank was a gritty, hole-in-the-wall affair.
    • 70 Metascore
    • 91 Owen Gleiberman
    Horton's attempt to authenticate the painting in the face of a hostile art establishment becomes a study in forensics, taste, money, and class warfare.
    • 62 Metascore
    • 91 Owen Gleiberman
    The Help has a saucy, humorous side.
    • 89 Metascore
    • 91 Owen Gleiberman
    An outrageously gorgeous spectacle of balletic aggression. At the same time, it offers something we rarely encounter in a whirling martial-arts extravaganza: a romantic passion that's woven into the very fabric of the action.
    • 67 Metascore
    • 91 Owen Gleiberman
    A big, square, rousing political thriller docudrama.
    • 63 Metascore
    • 91 Owen Gleiberman
    Sensational sex-and-its-consequences melodrama.
    • 82 Metascore
    • 91 Owen Gleiberman
    A tale of ordinary Americans scraping bottom, yet there's a redemption in that. The film asks: If you were this desperate, wouldn't you do the same?
    • 74 Metascore
    • 91 Owen Gleiberman
    James Gray's Two Lovers really is a '70s movie, in the mode of such raw, unfiltered character studies as "The Panic in Needle Park," "Wanda," and "Fat City."
    • 91 Metascore
    • 91 Owen Gleiberman
    By the end, the rug gets pulled out from under us, showing that even the reality we think we see may be an illusion.
    • 77 Metascore
    • 91 Owen Gleiberman
    The old-world-meets-new mesh is incarnated in the movie's soundtrack, a joyful effusion of disco Bollywood that, by the end of Monsoon Wedding, sent my spirit soaring out of the theater.
    • 55 Metascore
    • 91 Owen Gleiberman
    Olsen, moody and apple-cheeked and intellectually avid, proves a true star: She turns being wiser than her years into an authentic generational state.
    • 82 Metascore
    • 91 Owen Gleiberman
    Tell No One's plot thickens in about five ways at once, but they're all connected. The issue of how is a riddle that does more than tease --gives you an itch you won't want to stop scratching.
    • 72 Metascore
    • 91 Owen Gleiberman
    Death and the Maiden doesn't always escape its contraption origins, but it ends with one of the most honest-and poetic- reckonings of human evil in modern movies. It's Polanski braying at his own bitter moon.
    • 72 Metascore
    • 91 Owen Gleiberman
    A terrific, small, funny, sad movie.
    • 89 Metascore
    • 91 Owen Gleiberman
    This is perhaps the only science-fiction film that can be called transcendental.
    • 55 Metascore
    • 91 Owen Gleiberman
    Idlewild is a romp, a ticket to rowdy good times.
    • 65 Metascore
    • 91 Owen Gleiberman
    A crowd-pleaser in the deepest sense, mixes heartbreak and happiness together until you don't even want to see them apart.
    • 59 Metascore
    • 91 Owen Gleiberman
    Alien3 is a grimly seductive end-of-the-world thriller, with pop-tragic overtones that build in resonance as the movie goes on.
    • 88 Metascore
    • 91 Owen Gleiberman
    A buoyant, funny, and disarmingly humane comedy of beautiful losers in revolt.
    • 77 Metascore
    • 91 Owen Gleiberman
    The actors are terrific, especially Weaving, who plays bottoming out as a tragedy spiked with gallows humor, and Blanchett, who digs deep into the booby-trapped nature of recovery. The revelation, however, is Rowan Woods, a major filmmaker in the making.
    • 37 Metascore
    • 91 Owen Gleiberman
    Pungent, funny, and surprisingly forceful.
    • 74 Metascore
    • 91 Owen Gleiberman
    We're given an intimate seat to this wildly democratic - and creepily messianic - spectacle.
    • 64 Metascore
    • 91 Owen Gleiberman
    Funny, pungent, and weirdly gripping.
    • 88 Metascore
    • 91 Owen Gleiberman
    Mafioso does more than cast its fascinating shadow over "The Godfather." It captures, in a stark yet haunting way, the indelible fact that no man is born a mobster.
    • 56 Metascore
    • 91 Owen Gleiberman
    All three of the leads get very close to the Stooges' old looks and personalities, but they do more than impersonate; they inhabit.
    • 53 Metascore
    • 91 Owen Gleiberman
    Wilson has a scene near the end with Marley that's the most wrenchingly tender acting of his career.
    • 82 Metascore
    • 91 Owen Gleiberman
    It's wonderful to see a Japanese movie in which a samurai, for all his somber discipline and skill, is also a touching and complicated ordinary man.
    • 67 Metascore
    • 91 Owen Gleiberman
    By the end of Nowhere Boy, you'll feel you know John Lennon better than you ever did.
    • 82 Metascore
    • 91 Owen Gleiberman
    At two hours and 32 minutes, this is almost too much movie, but it has a malicious, careening zest all its own. It's a ride for the gut AND the brain.
    • 72 Metascore
    • 91 Owen Gleiberman
    JFK
    [Stone's] filmmaking is so supple and alive, his obsession with the visual aspect of history so electrifying, that JFK practically roots itself in your imagination.
    • 81 Metascore
    • 91 Owen Gleiberman
    A fizzy and delirious high-camp message-movie musical that may just turn out to be the happiest movie of the summer.
    • 56 Metascore
    • 91 Owen Gleiberman
    This is the richest role Paltrow has had since ''Shakespeare in Love,'' and she rises to the challenge. She digs deep into Plath's mercurial nature, giving us a Sylvia who's fiercely independent and alive yet burdened with demons of insecurity that bubble up in a rage.
    • 68 Metascore
    • 91 Owen Gleiberman
    Casino Jack is really a look at how the culture of Washington was rebuilt to sell itself to the highest bidder.
    • 68 Metascore
    • 91 Owen Gleiberman
    With its this-is-really-happening vibe, Paranormal Activity scrapes away 30 years of encrusted nightmare clichés. The fear is real, all right, because the fear is really in you.
    • 82 Metascore
    • 91 Owen Gleiberman
    The Spectacular Now doesn't shrink from being an all-out teen movie (it has hookups and a senior prom). Yet it's one of the rare truly soulful and authentic teen movies. It's about the experience of being caught on the cusp and not knowing which way you'll land.
    • 78 Metascore
    • 91 Owen Gleiberman
    Andrew Wagner has made a lovely comedy of death and rebirth.
    • 89 Metascore
    • 91 Owen Gleiberman
    When Baron Cohen works without a net, he flies.
    • 70 Metascore
    • 91 Owen Gleiberman
    Aaron Woolf's we-are-what-we-eat documentary King Corn is a lively introduction to the corn industrial complex.
    • 59 Metascore
    • 91 Owen Gleiberman
    Plato's Retreat was a buffet of bodies, and the film catches the moment America could think that was tasty.
    • 69 Metascore
    • 91 Owen Gleiberman
    The tale itself is so spectacularly perverse, and the film stays so authentically close to the personalities involved, that you don't feel dirty -- you feel cleansed.
    • 85 Metascore
    • 91 Owen Gleiberman
    Hopping from Germany to Turkey and back again, Akin is out to capture the ways that a globalized world can tear up our hearts, and repair them, too.
    • 70 Metascore
    • 90 Owen Gleiberman
    The Nice Guys is an ultra-violent burlesque, the sort of cheerfully hostile buddy bash that’s been a staple since the ’80s, only this one is singularly clever about its own triviality, and it offers the scruffy pleasure of seeing two great actors dial down their gravitas with style.
    • 57 Metascore
    • 90 Owen Gleiberman
    War Dogs marks a key turning point for Phillips. After all these years of yocks, it’s his first true grown-up movie, and it’s a nimble, gripping, and terrific one, with plenty of laughs, only now they’re rooted in the reality of fear, and in behavior that’s authentically scurrilous.
    • 71 Metascore
    • 90 Owen Gleiberman
    The movie just about pulses with contemporary resonance.
    • 66 Metascore
    • 90 Owen Gleiberman
    Bryan Cranston gives the most authentic and lived-in performance as an agent pretending to be a criminal that I have ever seen.
    • 78 Metascore
    • 90 Owen Gleiberman
    Tickling Giants is a terrific movie that leaves you cherishing (a little more) the freedom we have, and holding in contempt (a little more) those who would compromise it. Mostly, the movie makes you understand how every society — and ours more than ever — needs people like Bassem Youssef to demonstrate that laughter will always be one of the essential ways to keep power in check.
    • 76 Metascore
    • 90 Owen Gleiberman
    Rush and Tucci create a captivating portrait of an artist who’s at once elated, haunted, and utterly possessed.
    • 56 Metascore
    • 90 Owen Gleiberman
    It’s poised between reality and paranoid daydream, it’s about the dangerous ways that love can go wrong, and it does the thing that noir was invented to do: It sucks you in.
    • 58 Metascore
    • 90 Owen Gleiberman
    Moverman balances the potential for staginess with his flowing cinematic bravura; he keeps surprising you, and he gives the drama a dash of poison elegance.
    • 67 Metascore
    • 90 Owen Gleiberman
    Ford is a true moviemaker — a social observer who’s a junkie for sensation and narrative. He has structured Nocturnal Animals beautifully, so that the past feeds into the present, and fiction into reality.
    • 75 Metascore
    • 90 Owen Gleiberman
    The first thing to say about The Lego Batman Movie is that it’s kicky, bedazzling, and super-fun.
    • 85 Metascore
    • 90 Owen Gleiberman
    By the end of I Am Another You, what starts off as a celebration of reckless freedom turns into a revelation of a broken yet soaring soul: the story of a life that resists being judged as much as it does being pigeonholed.
    • 57 Metascore
    • 83 Owen Gleiberman
    You never forget you're watching a derivative, machine-tooled entertainment; the fun is in how the machine keeps spinning off course.
    • 64 Metascore
    • 83 Owen Gleiberman
    The movie has a mystery, and moral unease, that lingers.
    • 68 Metascore
    • 83 Owen Gleiberman
    Spells out the problem in clear, urgent, prosaic terms.
    • 59 Metascore
    • 83 Owen Gleiberman
    Supple and engrossing, a liquid-smooth street-rap testimonial.
    • 64 Metascore
    • 83 Owen Gleiberman
    The movie, in a sense, is just like Bettie's photos: all glorious surface. The Notorious Bettie Page captures, with seductive finesse, how Bettie Page happened, yet what it leaves us with is the tantalizing enigma of a girl who couldn't truly be ''bad'' because she made sex divinely delicious.
    • 75 Metascore
    • 83 Owen Gleiberman
    When we finally see the time-lapse images his cameras took, they're awesome and terrifying - a meltdown out of a poetic horror film.
    • 62 Metascore
    • 83 Owen Gleiberman
    His pluck and chutzpah shine through.
    • 64 Metascore
    • 83 Owen Gleiberman
    Zippy, enjoyable sci-fi slapstick jamboree.
    • 57 Metascore
    • 83 Owen Gleiberman
    So scrupulously researched and argued that only a fool would ignore its findings.
    • 79 Metascore
    • 83 Owen Gleiberman
    Heavier on mood than incident, but its vision of a doomed erotic power war has a lurching authenticity.
    • 84 Metascore
    • 83 Owen Gleiberman
    If this is the sound of a new generation, then it may be the first generation cautious enough to embrace friendship as mightier than love.
    • 50 Metascore
    • 83 Owen Gleiberman
    Last Night is on to something fascinating. It meditates on the meaning of adultery: the purposes it serves, beyond sex.
    • 72 Metascore
    • 83 Owen Gleiberman
    The Aristocrats has a lot of laughs, but as it giggles and blasphemes its way into areas not so far removed from the scandalous landscape of the Marquis de Sade, the movie, funny as it is, becomes exhausting and a bit depressing.
    • 71 Metascore
    • 83 Owen Gleiberman
    The actors all blend terrifically, making this the film equivalent of great hang time.
    • 56 Metascore
    • 83 Owen Gleiberman
    From the get-go, The Recruit is one of those thrillers that delights in pulling the rug out from under you, only to find another rug below that.
    • 62 Metascore
    • 83 Owen Gleiberman
    More than just a walking fat joke, Sherman Klump is Eddie Murphy's winking rebuke of his own arrogance.
    • 80 Metascore
    • 83 Owen Gleiberman
    Moving and eerily beautiful.
    • 60 Metascore
    • 83 Owen Gleiberman
    Notorious makes the death of Biggie Smalls look like a tragic mistake, instead of the outgrowth of a culture devoted to selling the fantasy of who's the biggest man.
    • 89 Metascore
    • 83 Owen Gleiberman
    The result is a playful, elusive movie that isn't so much heartwarming as soul-cleansing.
    • 59 Metascore
    • 83 Owen Gleiberman
    Beowulf is a solemnly gorgeous, at times borderline stolid piece of Tolkien-with-a-joystick mythology.
    • 79 Metascore
    • 83 Owen Gleiberman
    The surprise of Let Me In is that director Matt Reeves (Cloverfield) hasn't just remade the Swedish cult vampire film "Let the Right One In" into a more fluid and visceral movie. He's made it more dangerous.
    • 59 Metascore
    • 83 Owen Gleiberman
    This beautiful and urgent eco-doc takes a bite out of the shark mythology made indelible by "Jaws."
    • 73 Metascore
    • 83 Owen Gleiberman
    A swankily austere piece of jeepers-creepers sci-fi.
    • 76 Metascore
    • 83 Owen Gleiberman
    Beats is a welcome blast of '90s nostalgia, taking us back to a time - and a sound - that pulsates with optimism.
    • 36 Metascore
    • 83 Owen Gleiberman
    It may be the first movie that mirrors, in its very syntax, the ''snap crackle and pop'' narcotic superficiality of the E! channel. I mean that as a compliment.
    • 75 Metascore
    • 83 Owen Gleiberman
    It's a David-and-Goliath tale, full of anger and disturbing accusation, but it's also inspiring.
    • 68 Metascore
    • 83 Owen Gleiberman
    I'm not generally a big fan of tribute concerts, but this is a glorious exception.
    • 66 Metascore
    • 83 Owen Gleiberman
    The Prestige isn't art, but it reaps a lot of fun out of the question, How did they do that?
    • 33 Metascore
    • 83 Owen Gleiberman
    Unlike its obvious influence, the 1999 Japanese shocker "Audition," The Human Centipede has no real-world echoes. It's an only-in-the-movies sick goof.
    • 53 Metascore
    • 83 Owen Gleiberman
    De-Lovely is something dishy and rare: a biopic about a happy, and even enchanted, man.
    • 55 Metascore
    • 83 Owen Gleiberman
    It's a perfect summation of why he was the ultimate filmmaker.
    • 74 Metascore
    • 83 Owen Gleiberman
    How is Invictus as a sports movie? Let's just say that its lump-in-the-throat climax is predictable, but that doesn't mean it's less than earned.
    • 66 Metascore
    • 83 Owen Gleiberman
    I found The Girl Who Played With Fire more gripping than "Dragon Tattoo," because this one doesn't just play with thriller conventions -- it puts them to work.

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