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 6.3 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Once
Lowest review score: 0 Assisted Living
Score distribution:
2,348 movie reviews
    • 61 Metascore
    • 83 Owen Gleiberman
    A summer-adventure comedy, and its tone is fairly synthetic, yet it gets major props for giving us the first movie heroine who is clueless and easy in such a hardcore way.
    • 63 Metascore
    • 83 Owen Gleiberman
    Wahlberg, with shaggy hair and a pumped bod he wears more convincingly than any actor, plays Vince as a guy who truly doesn't expect to win. That makes his rib-bruising triumph all the more believable and touching.
    • 67 Metascore
    • 83 Owen Gleiberman
    High-octane trash, but you will go "Ohhhhhh!"
    • 58 Metascore
    • 83 Owen Gleiberman
    The story, at heart, is earnest and humorless teen romantic glop, but its feelings aren't fake, and the movie is compulsively watchable; it has a passionflower intensity.
    • 63 Metascore
    • 83 Owen Gleiberman
    True Lies is so eager to give you a giddy good time that you're more than happy to let it work you over. It's a likably disposable pop cocktail.
    • 52 Metascore
    • 83 Owen Gleiberman
    I'm not sure what it all adds up to, but The Devil's Double puts its hooks in you and keeps them there.
    • 61 Metascore
    • 83 Owen Gleiberman
    The fun of Role Models is that it's a high-concept movie executed with speed and finesse and the kind of brusquely tossed-off obscene banter that can get you laughing before you know what hit you.
    • 53 Metascore
    • 83 Owen Gleiberman
    Even when nothing is happening, the often dead-silent shots tend to grow scarier the more you look at them.
    • 56 Metascore
    • 83 Owen Gleiberman
    A lot of good actors have gone to work for the Coens and ended up looking like puppets, but Hanks is too clever for that. He knows that he's playing a concoction rather than a human being.
    • 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.
    • 75 Metascore
    • 83 Owen Gleiberman
    Has a bright, dishy spirit.
    • 67 Metascore
    • 83 Owen Gleiberman
    Robot & Frank is sentimental high-concept fluff that works.
    • 78 Metascore
    • 83 Owen Gleiberman
    Spitting obscenities at the film's director, Jay Bulger, Baker recalls his days as: the '60s thrash caveman who gave Cream and Blind Faith their transcendent power surge; the pioneer of druggy hotel-room rampages; and the damaged purist who left the pop world for Africa. The movie salutes the rhythms and the wreckage.
    • 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."
    • 72 Metascore
    • 83 Owen Gleiberman
    Kevin Kline is sweetly befuddled as a good man caught between worlds, and Sigourney Weaver, as a hard, sexy adulteress, makes her wit sting.
    • 71 Metascore
    • 83 Owen Gleiberman
    For a documentary that's almost engineered to lift your heart, Undefeated is very well done.
    • 55 Metascore
    • 83 Owen Gleiberman
    When You're Strange, a documentary history of the Doors directed by Tom DiCillo, is for people like me who can stumble onto the scrappiest Doors video on VH1 at 3 a.m. and sit there, mesmerized.
    • 64 Metascore
    • 83 Owen Gleiberman
    A Better Life was directed by the eclectic Chris Weitz (The Twilight Saga: New Moon, About a Boy), who weaves the torpor and anxiety of immigrant life into something dramatically true, if at moments a bit draggy.
    • 69 Metascore
    • 83 Owen Gleiberman
    This moving film explores the trauma of a Holocaust survivor with rare complexity.
    • 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.
    • 59 Metascore
    • 83 Owen Gleiberman
    It's the die-hard camaraderie that undergirded this squad and lifted it to the top.
    • 60 Metascore
    • 83 Owen Gleiberman
    Throw in a nagging divorce settlement, an unplanned murder, and Billy Crudup - hilarious! - as a raging security man, and Jill Sprecher's film enjoyably fuses cleverness and sheer desperation.
    • 76 Metascore
    • 83 Owen Gleiberman
    The Hidden Blade is tranquil, touching, and, in its climactic sword fight, excitingly real.
    • 57 Metascore
    • 83 Owen Gleiberman
    There's an unconvincing last-act twist, but this is the movie "Little Children" wanted to be.
    • 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.
    • 85 Metascore
    • 83 Owen Gleiberman
    Lopez, for all her Latina-siren voluptuousness, has always projected a contained coolness, and this is the first movie in which it fully works for her.
    • 85 Metascore
    • 83 Owen Gleiberman
    Young, wizened yet valiant, his voice still braying at the moon, delivers these songs of aging and loss as if caught in a beautiful dream of what lies waiting for him on the other side.
    • 68 Metascore
    • 83 Owen Gleiberman
    Fracture is working on us, playing us, but that's its pleasure. It makes overwrought manipulation seem more than a basic instinct.
    • 79 Metascore
    • 83 Owen Gleiberman
    Even at his coolest, Downey's Iron Man remains a ghostly, neurotic crusader -- one whose life, in the Marvel tradition, has become a grand spectacle of overcompensation.
    • 61 Metascore
    • 83 Owen Gleiberman
    An intensely exciting puzzle-gimmick thriller, the kind of movie that lets you know from the start that it's slyly aware of its own absurdity.
    • 75 Metascore
    • 83 Owen Gleiberman
    The Beat That My Heart Skipped lacks the screw-loose existential vibrance of "Fingers," yet it teases out a romantic underside to the original I never quite knew was there.
    • 75 Metascore
    • 83 Owen Gleiberman
    What sustains the film is the performers' belief in their shaggy-dog selves, which is more than just talent - it's faith.
    • 80 Metascore
    • 83 Owen Gleiberman
    Good Night, and Good Luck has a small-scale time-capsule fascination, yet its hermeticism is really a form of moral caution -- a way of keeping the issues neat, the liberal idealism untainted.
    • 65 Metascore
    • 83 Owen Gleiberman
    Velvet Goldmine is no masterpiece, but, at its best, it's a ravishing rock dream.
    • 58 Metascore
    • 83 Owen Gleiberman
    Undisputed is a shrewd and splendidly volatile B movie structured around a highly original gambit of suspense.
    • 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.''
    • 62 Metascore
    • 83 Owen Gleiberman
    Somberly fantastic new mystery thriller.
    • 52 Metascore
    • 83 Owen Gleiberman
    It's made with deftly unsettling genre flair.
    • 64 Metascore
    • 83 Owen Gleiberman
    Turns into a lyrical and stirring meditation on the mystery of autism.
    • 76 Metascore
    • 83 Owen Gleiberman
    The first hour of The Last of the Mohicans plays like a convoluted history lesson. I appreciate that Mann has enough respect for the audience's intelligence to sketch in this briar patch of conflicting loyalties. But he outlines the interlocking factions without really making it clear, in dramatic terms, what each one stands for.
    • 69 Metascore
    • 83 Owen Gleiberman
    It's all about a likable scoundrel who discovers what it means to act out of conviction. The film's underlying twist, though, is tartly ironic.
    • 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.
    • 63 Metascore
    • 83 Owen Gleiberman
    Pfeiffer transcends any hint of cliché ''cougar'' voraciousness.
    • 66 Metascore
    • 83 Owen Gleiberman
    It's no insult to Tupac to say that he was gangsta rap's greatest matinee idol, or that he lived the part only too well.
    • 74 Metascore
    • 83 Owen Gleiberman
    Washington immerses himself, even more than he did in "Malcolm X," in a stare of unforgiving outrage.
    • 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.
    • 63 Metascore
    • 83 Owen Gleiberman
    Vitus, a fizzy domestic fairy tale from Switzerland, gives you a lift, as it revels in the oddball joy of genius as kid power.
    • 63 Metascore
    • 83 Owen Gleiberman
    Entertainingly deft sleight-of-hand thriller.
    • 84 Metascore
    • 83 Owen Gleiberman
    The Cove is the rare documentary specifically designed as a thriller.
    • 83 Metascore
    • 83 Owen Gleiberman
    Paranoid Park has the slightly glum insularity of minimalist fiction, but it's the first of Van Sant's blitzed-generation films in which a young man wakes up instead of shutting down.
    • 72 Metascore
    • 83 Owen Gleiberman
    A big, juicy, enjoyable wide-canvas biography with a handful of indelible moments.
    • 59 Metascore
    • 83 Owen Gleiberman
    Savages is Oliver Stone doing what he should have done a long time ago: making a tricky, amoral, down-and-dirty crime thriller that's blessedly free of any social, topical, or political relevance.
    • 77 Metascore
    • 83 Owen Gleiberman
    Unlike the first two Decline films, this one is only tangentially concerned with music.
    • 65 Metascore
    • 83 Owen Gleiberman
    The Debt is basically an entertaining riff on "Munich." It's about a (fictional) operation of top secret Israeli revenge, carried out by three highly trained agents whose plan goes off the rails in ways that are more fascinating than the mission itself.
    • 54 Metascore
    • 83 Owen Gleiberman
    What makes The Hunting Party an original, gonzo treat is the way that Shepard plants the movie's tone somewhere between hair-trigger investigative danger and the from-the-frying-pan-into-the-fire glee of a Hope/Crosby picture.
    • 74 Metascore
    • 83 Owen Gleiberman
    As long as it showcases the art of krump, underscoring the dancers with ominous hip-hop beats, Rize is such a vibrant eruption of motion and attitude that you can forgive the film for being disorganized and too skimpy on street-dance history.
    • 52 Metascore
    • 83 Owen Gleiberman
    An animated fairy tale made with simple, elegant conviction.
    • 70 Metascore
    • 83 Owen Gleiberman
    Paradoxically, a movie that loses power the more you perceive what's actually going on in it. Laid end to end, the story is, to put it mildly, overwrought, fusing several cataclysms too many.
    • 51 Metascore
    • 83 Owen Gleiberman
    In the title role, Michael Peña has a no-nonsense fire: He captures how Chavez borrowed from Martin Luther King Jr. but also fueled the struggle with his own improvisatory brilliance.
    • 77 Metascore
    • 83 Owen Gleiberman
    Notre Musique is Godard's post-9/11 statement, a meditation on how war emerges from the eternal, and hypocritical, duality of human perception -- the sense that it's always ''the other'' who dies.
    • 33 Metascore
    • 83 Owen Gleiberman
    It's trash, all right, but perfectly skewed trash -- a comedy that knows just how smart to be about just how dumb it is.
    • 73 Metascore
    • 83 Owen Gleiberman
    A tangy raw stew of history, even if it never begins to confront the contradictions that bedeviled black militancy.
    • 63 Metascore
    • 83 Owen Gleiberman
    Hamilton, in her movie debut, is a find: the kinkstress next door.
    • 63 Metascore
    • 83 Owen Gleiberman
    Director Niels Mueller's attempt to create a middle-class "Taxi Driver" (he tips his hand a bit smugly by respelling Byck's name to evoke Travis Bickle) has a creepy, meticulous exactitude.
    • 58 Metascore
    • 83 Owen Gleiberman
    It's galvanizing to see it played out through the furious contradiction of Carter's personality. He is pious, stubborn, compassionate, testy, moral, unreasonable, and wise.
    • 64 Metascore
    • 83 Owen Gleiberman
    Funny and ebullient look at a man in full confusion.
    • 72 Metascore
    • 83 Owen Gleiberman
    A romp of romantic larceny built out of spare parts we've seen in countless other films.
    • 54 Metascore
    • 83 Owen Gleiberman
    As a movie, Hamlet 2 is lively, energetically daft, and very, very scrappy -- a broader, more loony-tunes knockoff of "Waiting for Guffman."
    • 35 Metascore
    • 83 Owen Gleiberman
    The best thing about the movie is that it keeps drawing conclusions in opposite directions.
    • 85 Metascore
    • 83 Owen Gleiberman
    A puzzle of a highly rarefied order. At times it's enthrallingly clever and subtle; at others it's borderline incomprehensible.
    • 62 Metascore
    • 83 Owen Gleiberman
    Kirkman is shrewd enough to coax a wistful performance out of pretty boy Kip Pardue.
    • 45 Metascore
    • 83 Owen Gleiberman
    A blithe, funny, and engaging movie.
    • 64 Metascore
    • 83 Owen Gleiberman
    It's a beautiful and understated performance, one that hums with a richer, quieter music than Smith has mustered before.
    • 59 Metascore
    • 83 Owen Gleiberman
    One of the happiest movies around.
    • 64 Metascore
    • 83 Owen Gleiberman
    Is it really possible to make a comedy about abortion? Alexander Payne, who cowrote and directed this mischievous bit of sociological screwball, has brought it off.
    • 69 Metascore
    • 83 Owen Gleiberman
    The first rock & roll kung fu videogame youth love story.
    • 85 Metascore
    • 83 Owen Gleiberman
    Wiseman reveals the victims of domestic abuse in all of their pity and terror.
    • 50 Metascore
    • 83 Owen Gleiberman
    It says a lot for Joel Schumacher's Flawless that you can see the picture's high-concept heart a mile away and still be won over by it.
    • 71 Metascore
    • 83 Owen Gleiberman
    Michael Mann's tensely funny and alive Los Angeles night-world thriller, is, in its own twisty way, a very high-stakes buddy movie, yet it doesn't look like one, because it leaps off from a situation more jangled and threatening than we're used to.
    • 67 Metascore
    • 83 Owen Gleiberman
    Ruby Sparks is a romantic comedy that takes off from a premise so fanciful it needs every bit of the freshness that Dano brings it.
    • 35 Metascore
    • 83 Owen Gleiberman
    The film offers evidence that Vicious spent the entire night out cold on barbiturates. It plants resonant doubts.
    • 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.
    • 55 Metascore
    • 83 Owen Gleiberman
    A stylish B horror movie about giant insects in the catacombs of Manhattan, it's by turns queasy, gross, terrifying, and -- never underestimate this one -- enthusiastically dumb. It's everything you want in a big-bug thriller.
    • 73 Metascore
    • 83 Owen Gleiberman
    Mysterious Skin dawdles more than it flows, but it comes alive whenever Araki, hovering between tragedy and voyeurism, reveals how sex can tear lives to pieces.
    • 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.
    • 72 Metascore
    • 83 Owen Gleiberman
    When C-Diddy (a.k.a. David Jung), in his samurai superman suit, does his note-perfect, lip-twisting, belly-jiggling manic mime of Extreme's ''Play With Me,'' it's hard not to grin and admit that, yes, this is almost an art form.
    • 76 Metascore
    • 83 Owen Gleiberman
    In Shine a Light, a crackling concert movie directed by Martin Scorsese, the Rolling Stones are now so old that they seem new again.
    • 59 Metascore
    • 83 Owen Gleiberman
    He rarely allowed himself to be interviewed, but Henri Cartier-Bresson, here nearing 100, comes off as a marvelous, spritely, and companionable figure.
    • 83 Metascore
    • 83 Owen Gleiberman
    Up through its first half, The Age of Innocence is a masterfully orchestrated tale of romantic yearning.
    • 74 Metascore
    • 83 Owen Gleiberman
    It evokes the spirit of Hitchcock and Highsmith.
    • 62 Metascore
    • 83 Owen Gleiberman
    The Negotiator, once it gets going (there's a rather lengthy prosaic setup), is a satisfyingly tense and booby-trapped thriller about the meeting of two relentless minds.
    • 46 Metascore
    • 83 Owen Gleiberman
    The movie is like a less original "WALL•E," but it's still vibrant and touching.
    • 65 Metascore
    • 83 Owen Gleiberman
    Chesney makes an art form out of strolling down the catwalk while singing. He turns each song into a blissed-out journey homeward.
    • 47 Metascore
    • 83 Owen Gleiberman
    The whole movie is a diversionary activity. It's trash so compacted it glows.
    • 71 Metascore
    • 83 Owen Gleiberman
    There's no denying its grip: It is lurid, fascinating, sickening, and eye-opening.
    • 50 Metascore
    • 83 Owen Gleiberman
    Passionate and saucy comedy.
    • 41 Metascore
    • 83 Owen Gleiberman
    An alienated-teen movie that surfs along on the whims and casual cruelties of its central character runs a risk: It can wind up as random and undisciplined as she is. Instead, Little Birds is a touching and distinctive achievement.
    • 72 Metascore
    • 83 Owen Gleiberman
    Bellflower is stylishly watchable - even when it's preposterous.
    • 77 Metascore
    • 83 Owen Gleiberman
    Director David Gelb pulls back the curtain on the kitchen rituals of sushi, inviting us to experience the savory-smooth sensation of ''umami,'' roughly translated as ''Ahhh!''
    • 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.

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