Owen Gleiberman
Select another critic »
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 Food, Inc.
Lowest review score: 0 Running Free
Score distribution:
2,346 movie reviews
    • 62 Metascore
    • 91 Owen Gleiberman
    The Help has a saucy, humorous side.
    • 61 Metascore
    • 91 Owen Gleiberman
    El Bulli becomes a haunting celebration of the human desire to turn food into art - even if the results are consciously insane.
    • 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.
    • 76 Metascore
    • 91 Owen Gleiberman
    You could describe Margin Call as a thriller (it's wired with suspense), yet the tension all comes from words.
    • 89 Metascore
    • 91 Owen Gleiberman
    Days after I saw The Artist, I was still thinking (and grinning) about it, because the movie's real romance is the one between us, the jaded 21st-century audience, and the mechanical innocence of old movies, which here becomes new again.
    • 34 Metascore
    • 91 Owen Gleiberman
    The film's darkly bedazzled view of the '70s is spurred by great dish from André Leon Talley, Liza Minnelli, and Nile Rodgers, who set the stage for Halston's triumphs - and his jaw-dropping fall.
    • 69 Metascore
    • 91 Owen Gleiberman
    The most original and excitingly executed wow-factor-meets-handheld-video feature since "Blair Witch" itself. It's also a movie that rebuilds the power of special effects from the ground up.
    • 77 Metascore
    • 91 Owen Gleiberman
    The film is sketchy as biography, but it proves an aging artist can still crackle with the electricity of youth.
    • 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.
    • 82 Metascore
    • 91 Owen Gleiberman
    Marley was directed by the gifted Kevin Macdonald (The Last King of Scotland), who shows off his chops not by doing anything dazzling - the film is documentary prose, not poetry - but by treating Marley as a man of depth and nuance, of inner light and shadow.
    • 75 Metascore
    • 91 Owen Gleiberman
    We're given an intimate seat to this wildly democratic - and creepily messianic - spectacle.
    • 72 Metascore
    • 91 Owen Gleiberman
    The movie is Mike's story, and Channing Tatum proves himself a true movie star. His Mike glides through the world with the ease of a god, and on stage he's electrifying.
    • 57 Metascore
    • 91 Owen Gleiberman
    Part of Me works hard to prove it's more than a glorified infomercial, and one reason it is more is that Perry has a startling story to tell.
    • 77 Metascore
    • 91 Owen Gleiberman
    The documentary equivalent of a page-turner.
    • 59 Metascore
    • 91 Owen Gleiberman
    I will say that it's been a while since a romantic comedy mustered this much charm by looking this much like life.
    • 50 Metascore
    • 91 Owen Gleiberman
    Perhaps the best thing about the film is that it doesn't let those other players in the political process off the hook: the voters.
    • 73 Metascore
    • 91 Owen Gleiberman
    The film doesn't turn its issues into a glorified essay, but it does use them to give the audience a vital emotional workout.
    • 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.
    • 59 Metascore
    • 91 Owen Gleiberman
    This Is 40 isn't always hilarious, but it's ticklishly honest and droll about all the things being a parent can do to a relationship. And why it's still worth it.
    • 80 Metascore
    • 91 Owen Gleiberman
    The film casts a hypnotic spell all its own. It artfully sketches out the events for anyone who's coming in cold, but basically, its strategy is to take what we already know and go deeper.
    • 54 Metascore
    • 91 Owen Gleiberman
    It's a crackerjack B movie worthy of comparison to such stylishly low-down, smart-meets-dumb, hyper-violent entertainments as the 1997 Kurt Russell thriller "Breakdown," Clint Eastwood's infamous police bloodbath "The Gauntlet," John Carpenter's original "Assault on Precinct 13," and Arnold's own overlooked 1986 outing "Raw Deal."
    • 69 Metascore
    • 91 Owen Gleiberman
    Soderbergh is able to execute his games without pigeonholing his characters. He has made that rare thing, a modern-day noir with feeling.
    • 63 Metascore
    • 91 Owen Gleiberman
    Harmony Korine's first ''mainstream'' movie, Spring Breakers, is by far the best thing he's ever done.
    • 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.
    • 62 Metascore
    • 91 Owen Gleiberman
    Iron Man 3 is an ominously exciting, shoot-the-works comic-book spectacular.
    • 57 Metascore
    • 91 Owen Gleiberman
    Penn Badgley saunters around with an air of spooky self-possession, and he does a dead-on impersonation of Buckley's high-vibrato wail.
    • 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.
    • 88 Metascore
    • 91 Owen Gleiberman
    Leigh gives you such a strong sense of his characters as fluky individuals that even his most lackadaisical scenes are alive with possibility. What holds Life Is Sweet together is his perception — at once funny and wise — that people, when they change at all, do so in small, nearly imperceptible ways, and that that may be enough.
    • 66 Metascore
    • 91 Owen Gleiberman
    For a while, the girls' personalities seem almost interchangeable, but that's part of the texture. Katie Chang gives the leader a ripe synthetic glow, and Emma Watson does a remarkable job of demonstrating that glassy-eyed insensitivity need not be stupid.
    • 63 Metascore
    • 91 Owen Gleiberman
    It's scary good fun.
    • 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.
    • 49 Metascore
    • 91 Owen Gleiberman
    In the end, the most impressive performance may be Spike Lee's. He uses skill without gimmickry, flash without fuss, to tap the mesmerizing soul of this pulp.
    • 92 Metascore
    • 91 Owen Gleiberman
    With Inside Llewyn Davis, they've made a film that is almost spooky in its perversity: a lovingly lived-in, detailed tribute to the folk scene that — hauntingly — has shut their hero out.
    • 66 Metascore
    • 91 Owen Gleiberman
    Bilbo, as played by Freeman, suggests a sly-dog Dana Carvey without irony, and he is certainly overmatched, but that doesn't mean he's outplayed. Desolation is now his business.
    • 85 Metascore
    • 91 Owen Gleiberman
    Just about the only documentary that works like a novel, inviting you to read between the lines of Baker's personality until you touch the secret sadness at the heart of his beauty.
    • 81 Metascore
    • 91 Owen Gleiberman
    In Shoot Me, she wears her spiked cynicism like a cutting form of grace, and everyone around her (including audiences) gets healed by it.
    • 88 Metascore
    • 91 Owen Gleiberman
    A marvelous contraption, a wheels-within-wheels thriller that's pure oxygenated movie play.
    • 57 Metascore
    • 91 Owen Gleiberman
    Bateman deserves props for sustaining Bad Words as a little balancing act between sulfurously funny hatred and humanity.
    • 73 Metascore
    • 91 Owen Gleiberman
    The finest rock doc since "Anvil: The Story of Anvil." Matt Berninger, lead singer of the National, is a 40ish indie-rock star who carries himself like a hip lawyer.
    • 90 Metascore
    • 91 Owen Gleiberman
    Rachel Boynton’s gripping doc shows you what happens when the greed of oil companies meets the chaos of postcolonial Africa.
    • 56 Metascore
    • 83 Owen Gleiberman
    Doesn't offer anything to adult viewers as thrilling, as shivery, as satisfyingly primal as Steven Spielberg's intricate predator choreography in the original ''Jurassic Park.''
    • 58 Metascore
    • 83 Owen Gleiberman
    Undisputed is a shrewd and splendidly volatile B movie structured around a highly original gambit of suspense.
    • 64 Metascore
    • 83 Owen Gleiberman
    Funny and ebullient look at a man in full confusion.
    • 73 Metascore
    • 83 Owen Gleiberman
    Roberts, in her most forceful dramatic performance, allows us to take in every moment through fresh, impassioned eyes.
    • 60 Metascore
    • 83 Owen Gleiberman
    It's eye candy that detonates.
    • 71 Metascore
    • 83 Owen Gleiberman
    The Australian actress Frances O'Connor is a true find. She's as beautiful as the young Barbara Hershey, with a stare that's pensive yet playful, and she puts us in touch with the quiet battle of emotions in Fanny.
    • 74 Metascore
    • 83 Owen Gleiberman
    Washington immerses himself, even more than he did in "Malcolm X," in a stare of unforgiving outrage.
    • 80 Metascore
    • 83 Owen Gleiberman
    Moving and eerily beautiful.
    • 71 Metascore
    • 83 Owen Gleiberman
    A sturdily diverting old fashioned heist thriller that looks like a masterpiece of sheer competence next to the slovenly action fantasy F/X grab bags that have been passing for summer entertainment.
    • 72 Metascore
    • 83 Owen Gleiberman
    A romp of romantic larceny built out of spare parts we've seen in countless other films.
    • 77 Metascore
    • 83 Owen Gleiberman
    Unlike the first two Decline films, this one is only tangentially concerned with music.
    • 66 Metascore
    • 83 Owen Gleiberman
    The rare case in which a filmmaker's unadulterated worship of his subjects adds force and resonance--and not just luster--to the way that we see them.
    • 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.
    • 50 Metascore
    • 83 Owen Gleiberman
    Passionate and saucy comedy.
    • 79 Metascore
    • 83 Owen Gleiberman
    Heavier on mood than incident, but its vision of a doomed erotic power war has a lurching authenticity.
    • 47 Metascore
    • 83 Owen Gleiberman
    It's like Woodstock without the mud, and it leaves you feeling clean.
    • 47 Metascore
    • 83 Owen Gleiberman
    A pulsating snapshot of America caught in a mad, liberating identity crisis.
    • 62 Metascore
    • 83 Owen Gleiberman
    Somberly fantastic new mystery thriller.
    • 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.
    • 71 Metascore
    • 83 Owen Gleiberman
    The hit-and-run outlandishness of "Clerks" was a stunt. With Chasing Amy, Smith has made his first real movie.
    • 54 Metascore
    • 83 Owen Gleiberman
    In the scurrilously enjoyable documentary Porn Star: The Legend of Ron Jeremy, we get to know the man whom Al Goldstein dubbed ''the hedgehog of porn."
    • 50 Metascore
    • 83 Owen Gleiberman
    The cast is a pitch-perfect assemblage of pretty young things, but James Van Der Beek, as a slit-eyed dorm stud, proves that he can be an actor of cruel force.
    • 85 Metascore
    • 83 Owen Gleiberman
    Wiseman reveals the victims of domestic abuse in all of their pity and terror.
    • 75 Metascore
    • 83 Owen Gleiberman
    A little too programmed in its despair, but it coasts along on the jagged music of the modern lothario's song.
    • 61 Metascore
    • 83 Owen Gleiberman
    The final 20 minutes of Blue Crush can stand as one of the few highlights in a movie summer of mostly hollow action-carnival fireworks. The trick, for once, isn't that we're watching superhuman stunts; it's that we're watching deeply human stunts.
    • 57 Metascore
    • 83 Owen Gleiberman
    Starts out as mind-bending futuristic satire and then turns relentless -- it becomes a violent, postpunk version of an Indiana Jones cliff-hanger.
    • 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.
    • 72 Metascore
    • 83 Owen Gleiberman
    Even from the safety of a movie seat, you can just about feel the stinging hardness of the surf. Blue crush? This is more like white smash.
    • 77 Metascore
    • 83 Owen Gleiberman
    Powerful and searching documentary.
    • 63 Metascore
    • 83 Owen Gleiberman
    To explain a serial killer is to diminish his madness, but Dahmer does something quietly riveting. It lets you brush up against the humanity of a psycho, without making him any less psycho.
    • 67 Metascore
    • 83 Owen Gleiberman
    The fascination of Confessions of a Dangerous Mind, the sharp, funny, unreasonably compelling adaptation of Barris' autobiography, is the way it soft-shoes past our skepticism.
    • 56 Metascore
    • 83 Owen Gleiberman
    A good satire that had the untimely bad luck to be about a U.S. soldier who will do anything it takes to party, except fight for the right.
    • 86 Metascore
    • 83 Owen Gleiberman
    It was only with the advent of digital technology that the notion of an entire film done in a single take became possible. Mike Figgis got there first with ''Time Code,'' and now the Russian director Alexander Sokurov has brought off a comparably startling feat with Russian Ark.
    • 72 Metascore
    • 83 Owen Gleiberman
    Gripping in its intimacy.
    • 64 Metascore
    • 83 Owen Gleiberman
    The movie has a mystery, and moral unease, that lingers.
    • 74 Metascore
    • 83 Owen Gleiberman
    Nothing more than a modest, streamlined ''making of...'' diary about a movie that never got made -- it's ''Project Greenlight'' with bigger stars and bigger disasters.
    • 52 Metascore
    • 83 Owen Gleiberman
    It's made with deftly unsettling genre flair.
    • 54 Metascore
    • 83 Owen Gleiberman
    If anyone steals the movie, though, it's Sylvie Testud, who never lets on whether the sexy French country maid she's playing is mournfully obtuse or embodies the wisdom of the ages.
    • 83 Metascore
    • 83 Owen Gleiberman
    Up through its first half, The Age of Innocence is a masterfully orchestrated tale of romantic yearning.
    • 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.
    • 65 Metascore
    • 83 Owen Gleiberman
    A lickety-split, madly packed, roller-coaster entertainment that might almost have been designed to make you scared of how much smarter your kids are than you.
    • 73 Metascore
    • 83 Owen Gleiberman
    Isn't content to stick to the genre conventions it sets up. Instead, it sprawls and mutates into one of the Coens' elaborate gizmoid yarns.
    • 70 Metascore
    • 83 Owen Gleiberman
    Herzog's fascinating, rambling, love-hate documentary about their friendship and creative partnership, and in its discursive, anecdotal way it gets at the essence of one of cinema's indelible crackpots.
    • 59 Metascore
    • 83 Owen Gleiberman
    Supple and engrossing, a liquid-smooth street-rap testimonial.
    • 79 Metascore
    • 83 Owen Gleiberman
    Her memories lack the quality of revelation -- that is, up until the remarkable final section, in which she describes the last weeks in the bunker with Hitler and Eva Braun.
    • 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.
    • 75 Metascore
    • 83 Owen Gleiberman
    Hugh Grant has grown up, holding on to his lightness and witty cynicism but losing the stuttering sherry-club mannerisms that were once his signature. In doing so, he has blossomed into the rare actor who can play a silver-tongued sleaze with a hidden inner decency.
    • 59 Metascore
    • 83 Owen Gleiberman
    One of the happiest movies around.
    • 62 Metascore
    • 83 Owen Gleiberman
    This is the sort of incendiary role a lot of actors would kill for, yet the shock of Norton's performance isn't its showboat flamboyance. It's that he makes this sadistic junior sociopath rueful and intelligent.
    • 63 Metascore
    • 83 Owen Gleiberman
    Peter Bogdanovich taps deep into the Hearst mystique, entertainingly reenacting a historic scandal.
    • 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.
    • 63 Metascore
    • 83 Owen Gleiberman
    At best, a half-finished puzzle, but Broomfield leaves you with questions that few investigators have even dared to ask.
    • 81 Metascore
    • 83 Owen Gleiberman
    Rapt and beautiful and absorbing.
    • 57 Metascore
    • 83 Owen Gleiberman
    Hannibal lacks the rounded emotional elegance of ''The Silence of the Lambs'' (that was a great film; this one is merely good).
    • 86 Metascore
    • 83 Owen Gleiberman
    You know you're in the hands of a true filmmaker when you feel invited, at every turn, to share his sense of entrancement. I got that feeling in just about every frame of American Beauty.
    • 52 Metascore
    • 83 Owen Gleiberman
    An animated fairy tale made with simple, elegant conviction.
    • 52 Metascore
    • 83 Owen Gleiberman
    In its nothing's-quite-at-stake way, Mars Attacks! has Tim Burton's flaked-out spirit -- it makes you feel like a very knowing 8-year-old, seeing through the artifice yet believing in it at the same time.
    • 78 Metascore
    • 83 Owen Gleiberman
    Deeply rich and strange new romantic comedy.