Owen Gleiberman
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For 2,347 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 6.4 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Glengarry Glen Ross
Lowest review score: 0 A Life Less Ordinary
Score distribution:
2,347 movie reviews
    • 73 Metascore
    • 91 Owen Gleiberman
    It takes skill these days, if not nerve, to put a vital, happy nuclear family on screen and to invite us to share in every quiet tremor, every gentle jostle and smile of their steady, deep-flowing contentment.
    • 52 Metascore
    • 91 Owen Gleiberman
    Watching Bounce, you look at him (Affleck) and believe how much he's got at stake, and you look at Paltrow and know why.
    • 62 Metascore
    • 91 Owen Gleiberman
    Turns the tricks of psychology into duplicitous high play.
    • 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.''
    • 51 Metascore
    • 91 Owen Gleiberman
    Acting doesn't get more personal, or much greater.
    • 62 Metascore
    • 91 Owen Gleiberman
    When the submarine has to dive 400 meters beneath the surface to avoid detection, you can practically feel the water pressure crushing in on the sailors.
    • 71 Metascore
    • 91 Owen Gleiberman
    Linklater has hardly been a slacker this year. I'll take the tricky confrontational babble of Tape over some of the gauzier soliloquies in ''Waking Life,'' but either way, he's a filmmaker in love with the music of talk, and let's bless him for that.
    • 75 Metascore
    • 91 Owen Gleiberman
    Rarely have two actresses been so effortless in their intimacy.
    • 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.
    • 80 Metascore
    • 91 Owen Gleiberman
    The nature of silent comedy was to elevate its heroes into myths, but after ''Charlie'' I can't wait to see Chaplin's movies again, this time to glimpse the man on the other side of the icon.
    • 67 Metascore
    • 91 Owen Gleiberman
    A big, square, rousing political thriller docudrama.
    • 65 Metascore
    • 91 Owen Gleiberman
    Branagh, chewing on a plummy Georgia accent, makes the divorced, boozing, and womanizing Magruder a smug yet touchingly vulnerable legal player.
    • 71 Metascore
    • 91 Owen Gleiberman
    On the eve of Wuornos' 2002 execution, Broomfield digs deep into her abusive hell of a background (beatings, incest, sleeping homeless in the frozen Michigan woods) as well as her quasi-psychotic defense mechanisms.
    • 77 Metascore
    • 91 Owen Gleiberman
    Brashly engaging.
    • 62 Metascore
    • 91 Owen Gleiberman
    Like all courtroom dramas, A Few Good Men is gimmicky and synthetic. It's also an irresistible throwback to the sort of sharp-edged entertainment Hollywood once provided with regularity.
    • 64 Metascore
    • 91 Owen Gleiberman
    Trekkies is hilarious, fascinating, and, at times, almost scary.
    • 57 Metascore
    • 91 Owen Gleiberman
    It's not every comedy that can make you laugh with ridicule and cringe in empathetic horror at the same time.
    • 54 Metascore
    • 91 Owen Gleiberman
    The movie is on some level a stunt, but it has the fervent, sun-dazed pull of an authentic experience unfolding in real time, with glints of drama, comedy, and terror mixed into the almost-but-not-quite tedium.
    • 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.
    • 65 Metascore
    • 91 Owen Gleiberman
    A deft, funny, shrewdly unsettling tribute to such slasher-exploitation thrillers as "Terror Train," "New Year's Evil," and Craven's own "A Nightmare on Elm Street."
    • 78 Metascore
    • 91 Owen Gleiberman
    Godzilla is still the most awesome of tacky movie monsters.
    • 64 Metascore
    • 91 Owen Gleiberman
    Funny, pungent, and weirdly gripping.
    • 83 Metascore
    • 91 Owen Gleiberman
    The writer-director, Peter Sollett, cast the film with kids from his own neighborhood, who give themselves over to the camera with a spirit of improvised play that morphs into vivid, layered acting.
    • 90 Metascore
    • 91 Owen Gleiberman
    Remains a majestic explosion of pure cinema. It's a hallucinatory poem of fear, projecting, in its scale and spirit, a messianic vision of human warfare stretched to the flashpoint of technological and moral breakdown.
    • 51 Metascore
    • 91 Owen Gleiberman
    Shrewd, tough, and lively -- a junior-league "One Flew Over the Cuckoo's Nest."
    • 70 Metascore
    • 91 Owen Gleiberman
    Hoffman plays Dan Mahowny's addiction to instant money as something dirty and private and, at the same time, soul-quickening.
    • 51 Metascore
    • 91 Owen Gleiberman
    After a while, a didactic overdeliberateness seeps into Noé's design, but there's no doubt that he's a new kind of dark film wizard: a poet of apocalyptic shock.
    • 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.
    • 80 Metascore
    • 91 Owen Gleiberman
    A richly tender and moving experience.
    • 63 Metascore
    • 91 Owen Gleiberman
    Does more than capture the excitement of marching bands; it gets their clockwork beauty as well.
    • 82 Metascore
    • 91 Owen Gleiberman
    Here, in paranoid, bad acid trip form, is the real birth of girl power.
    • 90 Metascore
    • 91 Owen Gleiberman
    The movie might almost be winking at the fact that any single one of these performers could easily be the featured star of his or her own upper-crust period piece.
    • 31 Metascore
    • 91 Owen Gleiberman
    Peter Berg's scandalous sick-joke thriller is packed with rude and clever twists, and it delves, with surprising force, into the hypocritical postures of corporate-era male bonding. The cast is terrific, especially Christian Slater.
    • 94 Metascore
    • 91 Owen Gleiberman
    Nearly four decades ago, Pontecorvo anatomized the very form of modern terrorist warfare: the hidden cells, the cultish leaders, the brutish cycle of attack and counterattack.
    • 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.
    • 62 Metascore
    • 91 Owen Gleiberman
    Has a fractured fairy-tale charm, even if it isn't a nonstop laugh riot.
    • 61 Metascore
    • 91 Owen Gleiberman
    Deconstructing Harry is Woody Allen's naughty-boy confessional movie, a disquietingly candid and funny portrait of a pathological narcissist.
    • 62 Metascore
    • 91 Owen Gleiberman
    It's not every day you get to see a movie that begins in satire and ends in reverence, but then, for Kevin Smith, they may ultimately be the same thing.
    • 73 Metascore
    • 91 Owen Gleiberman
    If the result is often as glib as the targets it's satirizing, it's also driven by a cruelly distilled joy. Wag the Dog is an ode to the thrill of deception, a thrill embodied in Hoffman's inspired performance.
    • 85 Metascore
    • 91 Owen Gleiberman
    At times, The Iron Giant is more serene than it needs to be, but it's a lovely and touching daydream.
    • 88 Metascore
    • 91 Owen Gleiberman
    This is perhaps the only science-fiction film that can be called transcendental.
    • 77 Metascore
    • 91 Owen Gleiberman
    If Linklater goes to a bit of an extreme here, it's in making both characters so intelligent and sincere, so ardent and giving, that they seem a little too good to believe.
    • 84 Metascore
    • 91 Owen Gleiberman
    It's a beautiful contraption of a movie, a gothic backwoods fable that uses its naive yet murderous hero to walk a fine line between sentimentality and dread.
    • Entertainment Weekly
    • 86 Metascore
    • 91 Owen Gleiberman
    Lynch's first movie since ''Blue Velvet'' that truly envelops you in its spell. It's a piece of celestial Americana -- his journey to the light side of the moon.
    • 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.
    • 85 Metascore
    • 91 Owen Gleiberman
    The triumph of ''Spring, Summer'' is that even those of us who don't happen to be Buddhists can catch a glimpse of ourselves in the spinning wheel of hope, destruction, suffering, and bliss.
    • 76 Metascore
    • 91 Owen Gleiberman
    The fascination of Dig! is that it invites those of us who aren't alt-rock obsessives into the hive, yet it never feels like a dilettante's tour.
    • 68 Metascore
    • 91 Owen Gleiberman
    As a flight of fantasy, Jurassic Park lacks the emotional unity of Spielberg's classics ("Jaws," "Close Encounters," "E.T."), yet it has enough of his innocent, playful virtuosity to send you out of the theater grinning with delight.
    • 87 Metascore
    • 91 Owen Gleiberman
    Painfully beautiful autobiographical kaleidoscope.
    • 78 Metascore
    • 91 Owen Gleiberman
    The film defuses all preconceptions about the ''issues'' of transsexual identity to arrive at a place of tremulous human power.
    • 63 Metascore
    • 91 Owen Gleiberman
    Sensational sex-and-its-consequences melodrama.
    • 90 Metascore
    • 91 Owen Gleiberman
    Crowe, staying close to his memories, has gotten it, for perhaps the first time, onto the screen.
    • 83 Metascore
    • 91 Owen Gleiberman
    Has the resonance to stand not just as a terrific cartoon but as an emotionally pungent movie.
    • 82 Metascore
    • 91 Owen Gleiberman
    Dark and giddy at the same time, Leaving Las Vegas takes us into dreamy, intoxicated places that no movie about an alcoholic has gone before.
    • 86 Metascore
    • 91 Owen Gleiberman
    The result is something as original as it is unlikely: a study in grief that is flooded with happiness.
    • 75 Metascore
    • 91 Owen Gleiberman
    Has a rowdy, jumpin'-jive vivacity. It's not quite as emotionally rounded as ''Shrek'' was... but it's got heart and delirium in equal doses, as well as a firecracker rhythm all its own.
    • 69 Metascore
    • 91 Owen Gleiberman
    The film may be bloody, but it's also bloody gorgeous: a grandly fetishized epic of cinematic aggression. It's a tale of vengeance that hinges on Tarantino's love of ferocity as spectacle -- his immersion in action and exploitation, his addiction to the jazzy catharsis of junk-film kicks.
    • 75 Metascore
    • 91 Owen Gleiberman
    The beauty of Baadasssss! is the way Mario Van Peebles salutes his father's truth by coaxing it into legend.
    • 65 Metascore
    • 91 Owen Gleiberman
    Just when you're certain that Jarmusch is treading water with his borderline-tedious cleverness, something happens: Coffee and Cigarettes turns into a movie FULL of talk -- rich, supple, hilarious, masterfully orchestrated talk.
    • 88 Metascore
    • 91 Owen Gleiberman
    A buoyant, funny, and disarmingly humane comedy of beautiful losers in revolt.
    • 74 Metascore
    • 91 Owen Gleiberman
    A singular and haunting experience.
    • 73 Metascore
    • 91 Owen Gleiberman
    Ray
    As a musical biography, Ray is driven by the primal excitement of rock-and-soul at the moment of its discovery.
    • 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.
    • 82 Metascore
    • 91 Owen Gleiberman
    Freshly transplanted from the stage, is a thrilling ode to the intertwined glories of sex, showmanship, and lying: what the film calls ''the old razzle-dazzle.''
    • 57 Metascore
    • 91 Owen Gleiberman
    The rare commercial comedy that leaves you entranced by what can happen only in the movies.
    • 77 Metascore
    • 91 Owen Gleiberman
    Movie stars radiate a power -- physical, erotic, spiritual -- that draws an audience into their orbit. Yet watching Curtis Hanson's gritty and electrifying 8 Mile, the first thing you notice about Eminem, the most scaldingly powerful artist in pop music today, is how vulnerable he looks.
    • 81 Metascore
    • 91 Owen Gleiberman
    It's a film noir that grows more potent as its secrets are revealed.
    • 72 Metascore
    • 91 Owen Gleiberman
    Enchantingly witty.
    • 68 Metascore
    • 91 Owen Gleiberman
    Romantic comedies usually strike one or two moods, but in Afterglow, the writer-director Alan Rudolph runs through rainbows of feeling in a single scene.
    • 66 Metascore
    • 91 Owen Gleiberman
    Directed by Tony Scott, Crimson Tide is the kind of sumptuously exciting undersea thriller that moves forward in quick, propulsive waves.
    • 84 Metascore
    • 91 Owen Gleiberman
    Sheridan, however, works with such piercing fervor and intelligence that In the Name of the Father just about transcends its tidy moral design.
    • 71 Metascore
    • 91 Owen Gleiberman
    That Thing You Do! is neither overly sentimental nor overly cynical. It looks at the invention of our pop-rock mythology, and the bands that fed it until they were consumed by it, just as you'd expect Tom Hanks to: with open eyes (and a raised eyebrow).
    • 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
    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.
    • 71 Metascore
    • 91 Owen Gleiberman
    There's a slightness to Postcards From the Edge, and a little too much satirical self-help jargon (the story is all about how Suzanne learns to like herself). But the movie captures — and celebrates — how easy it is to turn your problems into show biz.
    • 53 Metascore
    • 91 Owen Gleiberman
    It's the rare portrait of a happy marriage that is honest about the complex currents of desire, and the drama is beautifully played by Bale, who gawks with soulful sweetness, and Watson, who does her most piercing work since "Breaking the Waves."
    • 76 Metascore
    • 91 Owen Gleiberman
    Using newsreel footage, clips of artistic propaganda (e.g., joyful proletarian farm ballets), and interviews with survivors, the movie draws us into the annihilating fervor of an era in which purge followed upon purge, in escalating waves of terror and control.
    • 84 Metascore
    • 91 Owen Gleiberman
    The unlikeliest enthralling movie to be released so far this year.
    • 86 Metascore
    • 91 Owen Gleiberman
    Gliding from the physical to the metaphysical, Andersen reveals how films like ''Chinatown'' effectively remade the reality of Los Angeles, replacing history with myth in a way that now anchors the city more than that history itself does.
    • 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.
    • 77 Metascore
    • 91 Owen Gleiberman
    The scary culminating flashback, in which Stephanie gives birth -- in a public restroom, on a high school ski trip -- is a marvel of authentic disturbance.
    • 72 Metascore
    • 91 Owen Gleiberman
    A terrific, small, funny, sad movie.
    • 70 Metascore
    • 91 Owen Gleiberman
    The movie is an unblinking look at the hidden (or perhaps not so hidden) pathology of American sports mania.
    • 71 Metascore
    • 91 Owen Gleiberman
    You may want to dispute Ruppert, but more than that you'll want to hear him, because what he says -- right or wrong, prophecy or paranoia -- takes up residence in your mind.
    • 75 Metascore
    • 91 Owen Gleiberman
    There have, over the years, been a lot of terrific undersea documentaries, but if you want to know what distinguishes this new one, it comes down to a single word: technology.
    • 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.
    • 74 Metascore
    • 91 Owen Gleiberman
    Cyrus cues us to expect it to go over the top, but the film never does. That may be its neatest trick
    • 74 Metascore
    • 91 Owen Gleiberman
    Stonewall Uprising does an evocative job of coloring in the oppression of gay life before Stonewall, so that when the eruption happens, we feel its necessity in our bones.
    • 64 Metascore
    • 91 Owen Gleiberman
    It's a comedy of manhood for the age of emasculation.
    • 70 Metascore
    • 91 Owen Gleiberman
    Countdown to Zero makes old terrors radioactively new again.
    • 67 Metascore
    • 91 Owen Gleiberman
    By the end of Nowhere Boy, you'll feel you know John Lennon better than you ever did.
    • 48 Metascore
    • 91 Owen Gleiberman
    An artful piece of exploitation vérité.
    • 79 Metascore
    • 91 Owen Gleiberman
    This one, as thoughtful as it is rousing, scores a TKO.
    • 56 Metascore
    • 91 Owen Gleiberman
    You'll laugh - a lot - but you'll also shed tears of recognition at this funny, salty, strife-torn look at the agony and ecstasy of family.
    • 57 Metascore
    • 91 Owen Gleiberman
    It's not art, but it's mighty fun.
    • 52 Metascore
    • 91 Owen Gleiberman
    A haunted-house movie that has some of the most shivery and indelible images I've seen in any horror film in decades. Yes, it's that unsettling.
    • 62 Metascore
    • 91 Owen Gleiberman
    The Help has a saucy, humorous side.
    • 87 Metascore
    • 91 Owen Gleiberman
    The supersmart and rousing Moneyball, which may be the best baseball movie since "Bull Durham," is also about talk, but in a coolly heady and original inside-the-front-office way.
    • 67 Metascore
    • 91 Owen Gleiberman
    Clooney certainly brings out the best in his actors, but his driving trait as a filmmaker is that he knows what plays - he has an uncanny sense of how to uncork a scene and let it bubble and flow.
    • 59 Metascore
    • 91 Owen Gleiberman
    The bottom line, for me, is this: I don't scare easily at horror films, but I watched Paranormal Activity 3 in a state of high anxiety.

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