Owen Gleiberman
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For 2,346 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 6.3 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Black Dynamite
Lowest review score: 0 Garage Days
Score distribution:
2,346 movie reviews
    • 74 Metascore
    • 100 Owen Gleiberman
    The thriller that's exciting, cathartic, and powerfully disturbing. Prisoners is that type of movie. It's rooted in 40 years of Hollywood revenge films, yet it also breaks audacious new ground.
    • 51 Metascore
    • 100 Owen Gleiberman
    Most of us consider Marilyn Monroe a born star with modest acting skills, but Love, Marilyn deepens the argument that the ditzy, dim-bulb ''Marilyn'' was every inch a performance, and a brilliant one.
    • 94 Metascore
    • 100 Owen Gleiberman
    Before Midnight confounds expectations in powerful and even haunting ways. It's not just darker than the previous two films. It's bigger, deeper, and more searching. It follows the characters through a tale of embattled love that extends far beyond them.
    • 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.
    • 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.
    • 78 Metascore
    • 100 Owen Gleiberman
    The movie is rich with class tension, and if Allen nails the moods of the wealthy, he also gets surprising, dynamic performances from Hawkins, Cannavale, and Andrew Dice Clay as the folks who have no money but may have a fuller sense of what life is.
    • 85 Metascore
    • 100 Owen Gleiberman
    Fruitvale Station is great political filmmaking because it's great filmmaking, period.
    • 90 Metascore
    • 100 Owen Gleiberman
    It's a film of jaw-dropping virtuosity and pleasure, one that leaves you revved, enthralled, tickled, moved, and amazed.
    • 82 Metascore
    • 100 Owen Gleiberman
    Brie Larson, as the caring but tormented Grace (who's pregnant and doesn't know if she has the faith to have her baby), and John Gallagher Jr., as her gentle-dweeb fellow worker Mason (who fears his love can't save her), show you what emotionally naked acting is all about.
    • 85 Metascore
    • 100 Owen Gleiberman
    The Past, is hugely ambitious — it's Farhadi seizing his moment — yet it's also a wrenchingly intimate tale of lives torn asunder by forces within and without them.
    • 55 Metascore
    • 100 Owen Gleiberman
    If ever there were an actor ripe to ''McConaughnesize'' his career, it's Jude Law — and guess what, he has done it, spectacularly, in Dom Hemingway.
    • 76 Metascore
    • 100 Owen Gleiberman
    An exquisitely fun documentary.
    • 76 Metascore
    • 100 Owen Gleiberman
    A spooky, heartbreaking documentary.
    • 98 Metascore
    • 100 Owen Gleiberman
    Hoop Dreams is an astonishing emotional experience — it has highs, lows, and everything in between.
    • 83 Metascore
    • 91 Owen Gleiberman
    The clever and infectious reboot of the amazingly enduring sci-fi classic, director J.J. Abrams crafts an origin myth that avoids any hint of the origin doldrums. That's because he rewires us back into the original Star Trek's primal appeal.
    • 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?
    • 77 Metascore
    • 91 Owen Gleiberman
    Firth plays him as a man of his time who is also mournfully ahead of his time. He's addicted to his own broken heart. A Single Man may break yours as well.
    • 69 Metascore
    • 91 Owen Gleiberman
    Bad Lieutenant doesn't go where you expect, but it has a stubborn, trippy logic.
    • 79 Metascore
    • 91 Owen Gleiberman
    Working with affectionate mockery, the Coens take the cinder-block-synagogue banality of American Jewish life in 1967 and make it look as archly exotic as the loopy Scandinavian-American winterscape of "Fargo."
    • 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
    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.
    • 76 Metascore
    • 91 Owen Gleiberman
    For nostalgia junkies, it's one from the heart.
    • 86 Metascore
    • 91 Owen Gleiberman
    A movie of tough excitement and surprise, even grace.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 91 Owen Gleiberman
    Spins a thorny tale of political corruption laced with personal sleaze.
    • 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.
    • 84 Metascore
    • 91 Owen Gleiberman
    The final shot, of the three characters now united, may be the quietest affirmation of life I've ever seen in a movie, and one of the truest.
    • 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."
    • 85 Metascore
    • 91 Owen Gleiberman
    A spectacular windup toy of a thriller -- a contraption made by an artist.
    • 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.
    • 88 Metascore
    • 91 Owen Gleiberman
    Capote honors its subject by doing just what Truman Capote did. It teases, fascinates, and haunts.
    • 71 Metascore
    • 91 Owen Gleiberman
    Forget Devo, Nico, Bowie, or Beefheart: The most mesmerizing freak show in the history of rock & roll was Klaus Nomi.
    • 59 Metascore
    • 91 Owen Gleiberman
    Told in a tricky flashback mode that's vivid even with a few too many temporal kinks, Don't Move is the sort of thing that Claude Chabrol was once praised for making with more pretension and a lot less less juice.
    • 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.
    • 53 Metascore
    • 91 Owen Gleiberman
    Then there's Todd Solondz's Palindromes, which is that rare event: a memorable provocation.
    • 57 Metascore
    • 91 Owen Gleiberman
    Dishes up some very corny jokes, but the images have a brighter-than-life vivacity.
    • 73 Metascore
    • 91 Owen Gleiberman
    An attack-of-the-aliens disaster film crafted with sinister technological grandeur -- a true popcorn apocalypse.
    • 66 Metascore
    • 91 Owen Gleiberman
    On the Outs parses the hopes and terrors of blasted lives with an empathy that never cheapens into pity. The movie wounds as much as it heals, and that's its true power.
    • 68 Metascore
    • 91 Owen Gleiberman
    The home-studio recording sequences in Hustle & Flow are funky, rowdy, and indelible. Brewer gives us the pleasure of watching characters create music from the ground up.
    • 73 Metascore
    • 91 Owen Gleiberman
    Buoyantly clever and amusing.
    • 90 Metascore
    • 91 Owen Gleiberman
    The Passenger isn't finally the masterpiece some have made it out to be, but it retains a singular intrigue: It's the first, and probably the last, thriller ever made about depression.
    • 71 Metascore
    • 91 Owen Gleiberman
    Greenwald floats the vital issue of whether Wal-Mart should be restrained by antimonopoly regulations, but his real question is cultural: Even with its rock-bottom prices, is Wal-Mart in the best interest of American consumers?
    • 53 Metascore
    • 91 Owen Gleiberman
    The movie is literally a series of showstoppers, unified by the impulse to turn life, at its scruffiest, into theater - into a rhapsody of the everyday.
    • 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.
    • 68 Metascore
    • 91 Owen Gleiberman
    Jarecki is no glib ideologue thumbing his nose at power.
    • 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.
    • 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.
    • 75 Metascore
    • 91 Owen Gleiberman
    An Inconvenient Truth can't, of course, reveal a future that is still up to us, but by the time you're done watching, the real question is, Which way on God's green earth would you want to err?
    • 77 Metascore
    • 91 Owen Gleiberman
    The War Tapes captures how the war in Iraq, for all its terrible carnage and death, is in a way too random in its destruction to even be called ''combat.''
    • 70 Metascore
    • 91 Owen Gleiberman
    Who Killed the Electric Car? makes you angry, and also sad, to live in a country where innovation could be contrived into an enemy.
    • 55 Metascore
    • 91 Owen Gleiberman
    Idlewild is a romp, a ticket to rowdy good times.
    • 82 Metascore
    • 91 Owen Gleiberman
    Requiem is drawn from an incident that was also the basis for last year's demon-seed hit, "The Exorcism of Emily Rose."
    • 89 Metascore
    • 91 Owen Gleiberman
    When Baron Cohen works without a net, he flies.
    • 64 Metascore
    • 91 Owen Gleiberman
    The baby-voiced costar of "Chasing Amy" proves an effortless filmmaker, turning Lucy’s journey into the awakening of a soul.
    • 68 Metascore
    • 91 Owen Gleiberman
    What hooks you from the start is Dakota Fanning's unfussy passion as Fern.
    • 65 Metascore
    • 91 Owen Gleiberman
    Moncrieff pushes a view of women as victims that might create its own pornography of masochism if it didn't touch so many authentic shattered nerve endings.
    • 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.
    • 82 Metascore
    • 91 Owen Gleiberman
    Moving and marvelous new cross-cultural family saga.
    • 66 Metascore
    • 91 Owen Gleiberman
    Anthology films usually work better in theory than execution, but this feature parade of shorts is a blithe, worldly, and enchanting exception.
    • 62 Metascore
    • 91 Owen Gleiberman
    In a world ruled by process, is compassion still real? Or is it just another scam? In Ocean's Thirteen, it is deviously, and merrily, both.
    • 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.
    • 64 Metascore
    • 91 Owen Gleiberman
    Any doubts as to whether Sienna Miller is a gifted actress should be laid to rest by Interview.
    • 69 Metascore
    • 91 Owen Gleiberman
    A rowdy, richly offbeat biopic.
    • 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.
    • 80 Metascore
    • 91 Owen Gleiberman
    A spooky, moving documentary.
    • 65 Metascore
    • 91 Owen Gleiberman
    A nimble and supple and moving comedy.
    • 54 Metascore
    • 91 Owen Gleiberman
    Agreeably skewed fun.
    • 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.
    • 78 Metascore
    • 91 Owen Gleiberman
    Andrew Wagner has made a lovely comedy of death and rebirth.
    • 83 Metascore
    • 91 Owen Gleiberman
    The 3-D visuals envelop you, majestically, and that effect fuses with the band's surround-sound rapture to create a full-scale sensory high. U2 3D makes you feel stoned on movies.
    • 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.
    • 59 Metascore
    • 91 Owen Gleiberman
    The film says that the U.S. immigrant situation is untenable, but then it forces US to ask: What should be done?
    • 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.
    • 80 Metascore
    • 91 Owen Gleiberman
    Bigger, Stronger, Faster is a portrait of a culture that claims to hate steroids but may, by now, be too pumped to do much about it.
    • 73 Metascore
    • 91 Owen Gleiberman
    Light and goofy, yet the fight scenes, which are the heart of the film, are lickety-split mad fun.
    • 73 Metascore
    • 91 Owen Gleiberman
    The movie also captures Thompson's tragedy: the haze of drugs and bad writing that consumed him for no less than his last 30 years.
    • 39 Metascore
    • 91 Owen Gleiberman
    Anyone who thinks that Josh Hartnett isn't a true movie star should see his riveting, high-wire performance in August.
    • 56 Metascore
    • 91 Owen Gleiberman
    He's a bombs-away provocateur, and in Religulous, Maher's blasphemous detonation of all things holy and scriptural, he doesn't really pretend to play fair. He's like Lenny Bruce with an inquiring mind and a video camera.
    • 54 Metascore
    • 91 Owen Gleiberman
    His (Townsend) staging has a tumult, a multi-POV immediacy that brings to mind Paul Greengrass' "Bloody Sunday."
    • 84 Metascore
    • 91 Owen Gleiberman
    A fascinating film -- more docudrama than biopic.
    • 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.
    • 53 Metascore
    • 91 Owen Gleiberman
    Wilson has a scene near the end with Marley that's the most wrenchingly tender acting of his career.
    • 38 Metascore
    • 91 Owen Gleiberman
    Breathless and petite yet powerfully in-your-face, Fisher combines dizzy femininity and no-nonsense verve in the manner of a classic screwball heroine. She's like Carole Lombard reborn as a tiny angel-faced dynamo.
    • 63 Metascore
    • 91 Owen Gleiberman
    The Great Buck Howard is in love with kitsch, the backwaters of showbiz, and true magic. It's a wee charmer that left me enchanted.
    • 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.
    • 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.
    • 58 Metascore
    • 91 Owen Gleiberman
    This brave documentary takes on the topic of anti-Semitism in a relentlessly probing and original way.
    • 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.
    • 69 Metascore
    • 91 Owen Gleiberman
    Does the movie, with its sock-puppet intros and narration by RuPaul Charles, mock Tammy Faye, sanctify her, or turn her into a flamboyant image of distressed womanly martyrdom -- the Judy Garland of televangelism? All of the above.
    • 56 Metascore
    • 91 Owen Gleiberman
    The savviest and most exciting Bond adventure in years, and that's because there's actually something at stake in it.
    • 79 Metascore
    • 91 Owen Gleiberman
    A domestic tragedy of lacerating vision.
    • 75 Metascore
    • 91 Owen Gleiberman
    This lone, fallen Nazi's obsessive distance from his actions is enough to give The Specialist a lingering chill.
    • 77 Metascore
    • 91 Owen Gleiberman
    The Cockettes weren't talented, exactly, yet the bedazzled flakiness of their passion takes you closer than just about any movie has to what was once really meant by the term ''free-spirited.''
    • 75 Metascore
    • 91 Owen Gleiberman
    A sprightly, lovingly researched, rather misty-eyed sports documentary that's steeped in ethnic pride.
    • 37 Metascore
    • 91 Owen Gleiberman
    Pungent, funny, and surprisingly forceful.
    • 58 Metascore
    • 91 Owen Gleiberman
    The film satirizes, and celebrates, an idea pivotal to both Hollywood and love: that in a world of impostors, the pretender with the most conviction can become exactly what he pretends to be.
    • 63 Metascore
    • 91 Owen Gleiberman
    As compelling as it is bizarre.
    • 84 Metascore
    • 91 Owen Gleiberman
    Creates a flow of symbolism so potent, so transporting in its physicality, that its impact all but transcends its righteous liberal ''meaning.''