Owen Gleiberman
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For 2,348 reviews, this critic has graded:
  • 67% higher than the average critic
  • 2% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 6 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 No End in Sight
Lowest review score: 0 Even Cowgirls Get the Blues
Score distribution:
2,348 movie reviews
    • 86 Metascore
    • 100 Owen Gleiberman
    This story of a 12-year-old boy who drops through the net of middle-class life invites us-in each shimmering frame-to gaze upon the world with a child's freshly awakening vision.
    • 80 Metascore
    • 100 Owen Gleiberman
    The stunning images aren't enough for Herzog, though. He wants us to see how these quirky researchers, in their lust to explore, are acting out a drive as primitive as nature: the need to break away from the world in order to find it.
    • 70 Metascore
    • 100 Owen Gleiberman
    By far the best Judd Apatow comedy that Judd Apatow had nothing at all to do with.
    • 89 Metascore
    • 100 Owen Gleiberman
    Watching Eternal Sunshine, you don't just watch a love story -- you fall in love with what love really is.
    • 73 Metascore
    • 100 Owen Gleiberman
    A conventionally heightened series of escapes and clashes and hide-and-seek gambits, yet the way the film has been made, nothing that happens seems inevitable -- which is to say, anything seems possible. There's a word for that sensation. It's called excitement.
    • 74 Metascore
    • 100 Owen Gleiberman
    It's a scrumptious and dizzy-spirited lark, a what-the-hell-let's-rob-the-casino flick made with so much wit and brains and dazzle and virtuosity that the sheer speed and cleverness of the caper hits you like a shot of pure oxygen.
    • 70 Metascore
    • 100 Owen Gleiberman
    Oren Moverman's Rampart is a terrific film: tense, shocking, complex, mesmerizing.
    • 96 Metascore
    • 100 Owen Gleiberman
    The miracle of the movie is the way that director Alfonso Cuarón, using special effects and 3-D with a nearly poetic simplicity and command, places the audience right up there in space along with them.
    • 70 Metascore
    • 100 Owen Gleiberman
    With an authenticity that is tender and merciless, the movie shows you what it looks like when youth rebellion becomes a form of fascism.
    • 70 Metascore
    • 100 Owen Gleiberman
    Potent and eye-opening documentary.
    • 71 Metascore
    • 100 Owen Gleiberman
    A marvelous movie.
    • 86 Metascore
    • 100 Owen Gleiberman
    Brilliant and psychologically transfixing documentary.
    • 80 Metascore
    • 100 Owen Gleiberman
    Rapt, heady, and startling: the most profound documentary I've seen this decade.
    • 88 Metascore
    • 100 Owen Gleiberman
    Until Once, I'm not sure that I'd ever seen a small-scale, nonstylized, kitchen-sink drama in which the songs take on the majesty and devotion of a musical dream.
    • 92 Metascore
    • 100 Owen Gleiberman
    The first animated feature produced entirely on computer is a magically witty and humane entertainment, a hellzapoppin fairy tale about a roomful of suburban toys who come to life when humans aren't around.
    • 78 Metascore
    • 100 Owen Gleiberman
    The film takes off from formula elements-it's yet another variation on "Die Hard"-but it manipulates those elements so skillfully, with such a canny mixture of delirium and restraint, that I walked out of the picture with the rare sensation that every gaudy thrill had been earned.
    • 74 Metascore
    • 100 Owen Gleiberman
    A delicate yet haunting movie, a meditation on friendship, on the roots of bohemianism, on the sad comedy of madness.
    • 85 Metascore
    • 100 Owen Gleiberman
    Arenas' life zigzags before us in a manner as heady and unpredictable as it must have felt to the man who lived it.
    • 86 Metascore
    • 100 Owen Gleiberman
    In The Beaches of Agnès, you get addicted to watching Agnès Varda watch the world.
    • 70 Metascore
    • 100 Owen Gleiberman
    A marvelous rock doc that manages to be wistful, tasty, and jam-kicking at the same time.
    • 73 Metascore
    • 100 Owen Gleiberman
    Presents Glass as a masterfully corrupt fabulist who convinced himself of the ultimate seductive lie, which is that there can't be anything wrong with telling people what they want to hear.
    • 77 Metascore
    • 100 Owen Gleiberman
    An existential chain reaction, yet as remarkable as his cinematic gamesmanship is the way that he traces the anatomy of feeling in Lola.
    • 76 Metascore
    • 100 Owen Gleiberman
    The most resonant and haunting movie I've seen this year.
    • 83 Metascore
    • 100 Owen Gleiberman
    It's hard to think of the last time a Pixar film made you go ''Wow!'' That's part of why The LEGO Movie is such outrageous and intoxicating fun.
    • 66 Metascore
    • 100 Owen Gleiberman
    The Girlfriend Experience is one of Steven Soderbergh's bite-size, semi-improvised, shot-on-DV doodles (like Bubble or Full Frontal), and it's the best one he's made.
    • 100 Metascore
    • 100 Owen Gleiberman
    The Wizard of Oz remains the weirdest, scariest, kookiest, most haunting and indelible kid-flick-that's-really-for-adults ever made in Hollywood.
    • 82 Metascore
    • 100 Owen Gleiberman
    A deeply straightforward yet beautifully crafted documentary.
    • 76 Metascore
    • 100 Owen Gleiberman
    Bleak, brilliant, and unsparing.
    • 82 Metascore
    • 100 Owen Gleiberman
    A triumph -- Demme's finest work since "The Silence of the Lambs," and a movie that tingles with life.
    • 84 Metascore
    • 100 Owen Gleiberman
    Bold and brilliant.
    • 86 Metascore
    • 100 Owen Gleiberman
    Still the grandest of all science-fiction movies.
    • Entertainment Weekly
    • 42 Metascore
    • 100 Owen Gleiberman
    The movie is so hilariously sly about something so fetishistically trivial that at times it appears to take in an entire culture through a lens made of cheese.
    • 67 Metascore
    • 100 Owen Gleiberman
    This documentary about the triumph of the New Hollywood employs a treasure trove of interviews and clips to create a rich understanding of the many forces -- cultural undertows, really -- that flowed together to fill the void left by the dying studio system.
    • 73 Metascore
    • 100 Owen Gleiberman
    I'm Not There lets you hear it again, more majestically than ever.
    • 86 Metascore
    • 100 Owen Gleiberman
    The movie is grand and immersive. It plugs us into the final months of Lincoln's presidency with a purity that makes us feel transported as though by time machine.
    • 75 Metascore
    • 100 Owen Gleiberman
    A gripping documentary that uses voluminous period evidence — unedited news footage, tape recordings of SLA leader Cinque's rants — to brilliantly reconstruct the entire freak event.
    • 67 Metascore
    • 100 Owen Gleiberman
    It's the wildest screen comedy in a long time, and also the smartest, the most fearlessly inspired, and the snort-out-loud funniest.
    • 90 Metascore
    • 100 Owen Gleiberman
    Voluptuously engrossing.
    • 75 Metascore
    • 100 Owen Gleiberman
    A candy store for film buffs.
    • 95 Metascore
    • 100 Owen Gleiberman
    Farhadi is no mere formalist. His film is a spiritual investigation into the rise of women and the descent of male privilege in Iran, and a look at the toll that has taken. In a movie of flawless acting, it is Moadi - terse, proud, angry, haunted - who shows us that rare thing: a soul in transition.
    • 80 Metascore
    • 100 Owen Gleiberman
    Amy Adams in a performance as deep as it is delightful, is the film's heart and also its flaky, wonderstruck soul.
    • 66 Metascore
    • 100 Owen Gleiberman
    There's a poetic irony to the idea that it took a female filmmaker to finally do justice to Philip Roth on screen.
    • 66 Metascore
    • 100 Owen Gleiberman
    Maggie Gyllenhaal is such a miracle of an actress that she makes you respond to the innocence of Sherry's desperate, selfish destruction.
    • 82 Metascore
    • 100 Owen Gleiberman
    Pawlikowski has made a romance that becomes a horror movie in which love, more than anything around it, is a delusionary fever to fear.
    • 73 Metascore
    • 100 Owen Gleiberman
    It's a poison bonbon tastier than just about anything else out there.
    • 75 Metascore
    • 100 Owen Gleiberman
    Nader became famous as a "consumer advocate," but as the thrilling first hour of An Unreasonable Man makes clear, that humdrum bureaucratic term didn't do justice to his courage, his vision.
    • 61 Metascore
    • 100 Owen Gleiberman
    Merrily outrageous, over-the-top fun.
    • 62 Metascore
    • 100 Owen Gleiberman
    In Oswald's Ghost, his vast chronicle of the JFK assassination and its cultural aftermath, Stone uses little-seen footage to assemble the events of Nov. 22, 1963, with a fascinating present-tense density.
    • 74 Metascore
    • 100 Owen Gleiberman
    At 88 minutes, Tabloid is short and sweet (it's pure movie candy), but by the end we've forged an emotional connection to Joyce McKinney at the deep core of her unapologetic fearless/nutty valor. And that's what really makes a great tabloid story: It's a vortex that's also a mirror.
    • 86 Metascore
    • 100 Owen Gleiberman
    The film is sublime entertainment, at once ticklish and suspenseful, cynical and sincere. By its very existence, Altman's comedy about the death of Hollywood lets you know that movies are still alive and kicking.
    • 65 Metascore
    • 100 Owen Gleiberman
    Along the way, Black Dynamite blends satire, nostalgia, and cinema deconstruction into a one-of-a-kind comedy high.
    • 78 Metascore
    • 100 Owen Gleiberman
    Fred Leuchter is just one deluded figure, but by the end of this great and chilling sick-joke documentary he stands as a living icon of the banality of evil.
    • 64 Metascore
    • 100 Owen Gleiberman
    He (Spurlock) takes Comic-Con seriously. He talks to Kevin Smith, Harry Knowles, and other famous grown-up geeks, but mostly he follows a handful of people whose dream it is to pass through the fan/professional looking glass and carve out a place for themselves in the industry of fantasy.
    • 67 Metascore
    • 100 Owen Gleiberman
    The movie is tough-minded: It zeroes in on Patrick's anger at dating a closeted football star, and it doesn't let Charlie off the hook for his cruelty or self-pity.
    • 77 Metascore
    • 100 Owen Gleiberman
    Ulee's Gold is a story of redemption, and Nunez doesn't make redemption look any easier than it is.
    • 85 Metascore
    • 100 Owen Gleiberman
    An exhilarating hall-of-mirrors look at what happens when global art fame turns anonymous, artists become objects, fans turn into artists, and the whole what's-sincere-and-what's-a-sham spectacle is more fun than art was ever supposed to be.
    • 69 Metascore
    • 100 Owen Gleiberman
    Beautifully edited, Go Tigers! is an enthralling look at the drama that can transpire in the autumn of one small town on any given Friday.
    • 63 Metascore
    • 100 Owen Gleiberman
    Of the idiosyncratic ''little'' movies that Soderbergh has made to clear his head (Full Frontal, Schizopolis), this is the first that truly connects.
    • 72 Metascore
    • 100 Owen Gleiberman
    Those Oompa-Loompas are the beat, and soul, of Burton's finest movie since "Ed Wood": a madhouse kiddie musical with a sweet-and-sour heart.
    • 58 Metascore
    • 100 Owen Gleiberman
    Jim Carrey's performance is an impersonation on the level of genius.
    • 80 Metascore
    • 100 Owen Gleiberman
    Room 237 makes perfect sense of "The Shining" because, even more than "The Shining" itself, it places you right inside the logic of how an insane person thinks.
    • 84 Metascore
    • 100 Owen Gleiberman
    This is the rare movie that gets you to fall in love with characters you don't even like.
    • 80 Metascore
    • 100 Owen Gleiberman
    Remains the only rock & roll film that exerts the saturnine intensity of a thriller.
    • 81 Metascore
    • 100 Owen Gleiberman
    Like David Lynch, Quentin Tarantino, and Paul Thomas Anderson, Solondz revels in ironic pop passion. It's a signature moment when he transforms Air Supply's "All Out of Love" into a geek-love rhapsody.
    • 86 Metascore
    • 100 Owen Gleiberman
    The movie is pulp, yet it attains a surprising emotional power-especially when Anjelica Huston's Lilly, a survivor who'll do whatever it takes to master her surroundings, is on-screen.
    • 93 Metascore
    • 100 Owen Gleiberman
    Spielberg restages the Holocaust with an existential vividness unprecedented in any nondocumentary film: He makes us feel as if we're living right inside the 20th century's darkest-and most defining-episode.
    • 47 Metascore
    • 100 Owen Gleiberman
    Someone has finally done it -- made a sexually explicit feature that is also a genuine and harrowing work of erotic drama.
    • 89 Metascore
    • 100 Owen Gleiberman
    Ferguson spotlights two massive mistakes: the looting that was allowed to continue, destroying Iraqi infrastructure and morale; and--far more revelatory -- the apocalyptically stupid decision to disband the Iraqi army, sending half a million angry soldiers into the streets.
    • 72 Metascore
    • 100 Owen Gleiberman
    A love poem to the New York City of the '50s and '60s, when Smith, the visionary of camp (Andy Warhol stole from him), more or less invented performance art.
    • 97 Metascore
    • 100 Owen Gleiberman
    It becomes as savage as ''Reservoir Dogs,'' ''The Killing,'' or any of the other dozens of films over which it still casts a shadow.
    • 86 Metascore
    • 100 Owen Gleiberman
    It's Swank, however, who's the revelation. By the end, her Brandon/Teena is beyond male or female. It's as if we were simply glimpsing the character's soul, in all its yearning and conflicted beauty.
    • 76 Metascore
    • 100 Owen Gleiberman
    True art is a journey to somewhere you've never been, and there has never been a movie quite like Breaking the Waves.
    • 58 Metascore
    • 100 Owen Gleiberman
    No dramatic feature has ever come quite this close to the matter-of-fact ugliness of the Nazi crimes.
    • 84 Metascore
    • 100 Owen Gleiberman
    Beautiful, wise, and poker-faced comedy of discombobulation.
    • 66 Metascore
    • 100 Owen Gleiberman
    The film is at times harrowing to watch, yet it's also wry and delicate and absorbing. It's infused with the messy excitement of imperfect passion.
    • 70 Metascore
    • 100 Owen Gleiberman
    It's cleansing to see the facts laid out with intimacy and rigor, and the film earns the comparison it makes to the squelching of due process for some of today's terror suspects.
    • 81 Metascore
    • 100 Owen Gleiberman
    Relaunches the series by doing something I wouldn't have thought possible: It turns Bond into a human being again -- a gruffly charming yet volatile chap who may be the swank king stud of the Western world, but who still has room for rage, fear, vulnerability, love.
    • 76 Metascore
    • 100 Owen Gleiberman
    Offers terrific interviews with the surviving Funk Brothers, who provide a tasty insider history of 4 a.m. recording sessions inside ''the snake pit'' (as the fabled Studio A was known) as well as a chilling description of their final kiss-off from Berry Gordy, the Motown mogul who treated them like indentured servants.
    • 82 Metascore
    • 100 Owen Gleiberman
    Lean, elegant, and emotionally complex -- a marvel of backwoods classicism.
    • 73 Metascore
    • 100 Owen Gleiberman
    Ghost Protocol brims with scenes that are exciting and amazing at the same time; they're brought off with such casual aplomb that they're funny, too.
    • 85 Metascore
    • 100 Owen Gleiberman
    Mark Wahlberg, in a star-making performance, has the kind of electric ingenuousness that John Travolta did in "Saturday Night Fever."
    • 79 Metascore
    • 100 Owen Gleiberman
    She's a teller of hilarious gutbucket truths as surely as Lenny Bruce and Richard Pryor ever were. Yet while they were consumed by their demons, Rivers is just the opposite.
    • 72 Metascore
    • 100 Owen Gleiberman
    Into Darkness is a sleek, thrilling epic that's also a triumphantly witty popcorn morality play. It's everything you could want in a Star Trek movie.
    • 75 Metascore
    • 100 Owen Gleiberman
    A wee romantic charmer, a delectable Dixie screwball romp that never loses its spry sense of discovery.
    • 83 Metascore
    • 100 Owen Gleiberman
    With its virtuoso tomfoolery, Fantastic Mr. Fox is like a homegrown Wallace and Gromit caper. To Wes Anderson: More, please!
    • 65 Metascore
    • 100 Owen Gleiberman
    A voyeur's delight.
    • 83 Metascore
    • 100 Owen Gleiberman
    Raimi has made the most crazy, fun, and terrifying horror movie in years.
    • 79 Metascore
    • 100 Owen Gleiberman
    Awesome documentary.
    • 76 Metascore
    • 100 Owen Gleiberman
    Down to the Bone achieves what only the best independent films have: making life, at its most unvarnished, a journey.
    • 64 Metascore
    • 100 Owen Gleiberman
    Nimble, engrossing, and journalistically eye-opening, a movie that pulls into focus 30 years of porn in America. It also pulls no punches.
    • 74 Metascore
    • 100 Owen Gleiberman
    Stone takes his characters right over the top, rubbing our noses in our own lust for excess, and some viewers are bound to say that he's gone too far. Yet this may be one case where too far is just far enough-where a gifted filmmaker has transformed his own attraction to violence into an art of depraved catharsis.
    • 73 Metascore
    • 100 Owen Gleiberman
    A deliciously amusing socio-culinary prank.
    • 70 Metascore
    • 100 Owen Gleiberman
    If they handed out an Academy Award for Most Gripping Graphs and Charts, this film would take it.
    • 90 Metascore
    • 100 Owen Gleiberman
    The most excitingly original movie of the year.
    • 75 Metascore
    • 100 Owen Gleiberman
    For sheer dramatic wallop outpowers virtually every fiction feature I've seen this year.
    • 97 Metascore
    • 100 Owen Gleiberman
    It's Ejiofor's extraordinary performance that holds 12 Years a Slave together.
    • 84 Metascore
    • 100 Owen Gleiberman
    In the Shadow of the Moon finds new resonance in the moment when America redefined progress -- but also when it heeded the siren song of a world so desolate it reminded you what a paradise ours truly is.
    • 65 Metascore
    • 100 Owen Gleiberman
    It's the first Hollywood Iraq movie to remind me of a Vietnam film like Coming Home, and it does more than disturb. It scalds, moves, and heals.
    • 87 Metascore
    • 100 Owen Gleiberman
    This is Robert Redford doing what too many stars should do and don't: taking a chance. And reinventing his art. It's an extraordinary thing to see.
    • 70 Metascore
    • 100 Owen Gleiberman
    A no-frills docu-Dogma plainness, yet Miller lingers on invisible, nearly psychic nuances, leaping into digressions of memory and desire. She boxes these women's souls right open for us.

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