Owen Gleiberman
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For 2,349 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 5.9 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Crying Game
Lowest review score: 0 Light It Up
Score distribution:
2,349 movie reviews
    • 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.
    • 88 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 clich├ęs. 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.
    • 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.
    • 68 Metascore
    • 83 Owen Gleiberman
    A fluid and gripping drama from Germany (it has the design of a thriller and the mood of a spontaneous, whirling-camera character study).
    • 83 Metascore
    • 83 Owen Gleiberman
    A fascinating and in many ways tragic documentary, takes us back to one of the high-water marks of the apes-are-people-too era.
    • 71 Metascore
    • 83 Owen Gleiberman
    After a lifetime of flogging the demons of cosmic despair, Ingmar Bergman, at 88, comes off as lean and vigorous in this fascinating memoir-interview.
    • 82 Metascore
    • 83 Owen Gleiberman
    The movie is voyeuristic, sure, but in a way that evokes Alfred Hitchcock's "Rear Window" more than William Friedkin's "Cruising."
    • 67 Metascore
    • 83 Owen Gleiberman
    Sound of My Voice doesn't follow through on everything it sets up, yet it has a hushed and revealing psycho-intensity. It also has an oh-wow Twilight Zone ending that truly made me go, ''Oh, wow.''
    • 67 Metascore
    • 83 Owen Gleiberman
    The highest praise I can give to Mondovino is that it makes you want to sample every vintage it shows you.
    • 63 Metascore
    • 83 Owen Gleiberman
    As is often the case with Lee, though, the film left me wishing for even more scenes of casual intimacy, still the most powerful way to carry any message.
    • 82 Metascore
    • 83 Owen Gleiberman
    Huppert has never been this cheerful, or lethal, and the movie itself is like Hitchcock's ''Rebecca'' reshot for House & Garden, with all the ghosts pulled out of the closet.
    • 44 Metascore
    • 83 Owen Gleiberman
    Here, as in "The Hangover," the laughs aren't just staged, they're superlatively engineered.
    • 55 Metascore
    • 83 Owen Gleiberman
    Pride doesn't have much surprise, but it's a formula picture of genuine feeling.
    • 63 Metascore
    • 83 Owen Gleiberman
    Peter Bogdanovich taps deep into the Hearst mystique, entertainingly reenacting a historic scandal.
    • 74 Metascore
    • 83 Owen Gleiberman
    As long as the MPAA is issuing its cavalier decrees, though, they're the ones acting like bullies.
    • 67 Metascore
    • 83 Owen Gleiberman
    At times, Kung Fu Panda 2 suggests "Bambi" redone as an episode of Oprah. Yet it's a more-than-worthy sequel.
    • 86 Metascore
    • 83 Owen Gleiberman
    Ten
    A glimpse into a society that has grown more open, more free, and also more casually selfish in its interpersonal aggression.
    • 74 Metascore
    • 83 Owen Gleiberman
    Flushed Away lacks the action-contraption dottiness of a Wallace and Gromit adventure, but it hits its own sweet spot of demented delight.
    • 63 Metascore
    • 83 Owen Gleiberman
    Pacino shows you what is only subliminally in the text: that Shylock's heart of stone is really a wall of wounded pride.
    • 77 Metascore
    • 83 Owen Gleiberman
    Powerful and searching documentary.
    • 53 Metascore
    • 83 Owen Gleiberman
    O
    To an astonishing degree, O gets the tragic Shakespeare mood, that somber stentorian passion born of hidden slivers of ambition and betrayal.
    • 74 Metascore
    • 83 Owen Gleiberman
    Higher Ground breaks crucial, sacred ground in American moviemaking.
    • 64 Metascore
    • 83 Owen Gleiberman
    The Truth About Cats & Dogs is very funny around the edges... but as the characters begin to hang out together, forming a platonic menage a trois, the mistaken-identity ruse never escalates into true screwball lunacy.
    • 52 Metascore
    • 83 Owen Gleiberman
    Jeff Prosserman's riveting documentary takes a question that haunted the Bernie Madoff scandal - how did he fool everyone for so long? - and answers it with a decisive "He didn't."
    • 55 Metascore
    • 83 Owen Gleiberman
    Urgent, heartfelt, and not-quite-as-predictable-as-you-think environmental rabble-rouser.
    • 49 Metascore
    • 83 Owen Gleiberman
    Its pulpy violent excess will tip over...into slightly more excessive excess. That's its silly, scuzzball joy.
    • 62 Metascore
    • 83 Owen Gleiberman
    A skillful and winning piece of honest booster portraiture.

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