For 2,337 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 6.7 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
Average review score: 66
Highest review score: 100 Anvil! The Story of Anvil
Lowest review score: 0 Best Laid Plans
Score distribution:
2,337 movie reviews
    • 86 Metascore
    • 83 Owen Gleiberman
    Sweaty and claustrophobic, exciting and horrifying at the same time, it never lets us forget we're riding aboard a giant, primitive tin can, a hunk of industrial machinery that mingles the illusion of omnipotence with the reality of a floating prison cell. [Director's Cut]
    • 71 Metascore
    • 83 Owen Gleiberman
    Just because a scenario turns dark doesn't mean that it's convincing. House of Sand and Fog is artful until it lunges for Art.
    • 68 Metascore
    • 83 Owen Gleiberman
    Even when the catharsis we yearn for arrives, it's tinged with restraint. But then, the true romance in Shall We Dance? is more than personal. It's the spectacle of a nation learning to dance with itself.
    • 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.
    • 78 Metascore
    • 83 Owen Gleiberman
    Yearns to be optimistic (juxtaposed with the disaster of Sudan, it certainly has the right to be), yet that only ends up underscoring its ache of sadness.
    • 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.
    • 67 Metascore
    • 83 Owen Gleiberman
    Lee, as he did in ''Malcolm X'' and ''Clockers,'' makes his hero's dread palpable, and though 25th Hour lacks the glittering brilliance of those films, I was held by the toughness and pity of Lee's gaze.
    • 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.
    • 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.
    • 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.
    • 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.
    • 71 Metascore
    • 83 Owen Gleiberman
    It took long enough, but Disney has finally come up with an animated heroine who's a good role model and a funky, arresting personality at the same time.
    • 59 Metascore
    • 83 Owen Gleiberman
    The man has the right to retire, but what will he do with all the words in his head?
    • 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.
    • 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.
    • 48 Metascore
    • 83 Owen Gleiberman
    At 73, Chomsky seems to understand everything about power and aggression -- except, that is, its centrality to human nature.
    • 74 Metascore
    • 83 Owen Gleiberman
    It evokes the spirit of Hitchcock and Highsmith.
    • 56 Metascore
    • 83 Owen Gleiberman
    The film is held together by Clive Owen, who spends most of his time on screen hidden beneath matted hair and a scruffy beard but still has more aura than any actor 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.
    • 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.
    • 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.
    • 49 Metascore
    • 83 Owen Gleiberman
    Like its two predecessors, Scary Movie 3 is a hit-or-miss affair, but the gags that connect really connect.
    • 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.
    • 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.''
    • 72 Metascore
    • 83 Owen Gleiberman
    The actress (Scarlett Johansson) gives a nearly silent performance, yet the interplay on her face of fear, ignorance, curiosity, and sex is intensely dramatic.
    • 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.
    • 83 Metascore
    • 83 Owen Gleiberman
    Up through its first half, The Age of Innocence is a masterfully orchestrated tale of romantic yearning.
    • 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.
    • 67 Metascore
    • 83 Owen Gleiberman
    Scalding and glib, derisive yet impassioned, Fahrenheit 9/11 is an intensely resonant piece of Bush-bashing, because it lets the president do most of the work.
    • 59 Metascore
    • 83 Owen Gleiberman
    Supple and engrossing, a liquid-smooth street-rap testimonial.
    • 73 Metascore
    • 83 Owen Gleiberman
    A swankily austere piece of jeepers-creepers sci-fi.
    • 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.
    • 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.
    • 67 Metascore
    • 83 Owen Gleiberman
    Everything in the movie -- family demons, May-December sex, the lessons of writing -- ties together with pinpoint precision. That's a pleasure, to be sure, and a limitation, too.
    • 53 Metascore
    • 83 Owen Gleiberman
    De-Lovely is something dishy and rare: a biopic about a happy, and even enchanted, man.
    • 60 Metascore
    • 83 Owen Gleiberman
    Ice Age never matches the brilliance of ''Toy Story'' or the heartfelt heft of ''Shrek,'' but it's an antic and sweet-spirited pleasure.
    • 81 Metascore
    • 83 Owen Gleiberman
    Rapt and beautiful and absorbing.
    • 79 Metascore
    • 83 Owen Gleiberman
    Heavier on mood than incident, but its vision of a doomed erotic power war has a lurching authenticity.
    • 57 Metascore
    • 83 Owen Gleiberman
    Code 46 has a noirish fatalism that renders it a close cousin to ''Blade Runner,'' but Winterbottom's film, shot mostly in the light, uses the theme of memory erasure to peer into the eternal sunshine of tragically altered minds.
    • 40 Metascore
    • 83 Owen Gleiberman
    It would be tempting to say that fractured time sequences in movies have become a cliché, except that Wicker Park makes your brain spin in surprising and pleasurable ways.
    • 64 Metascore
    • 83 Owen Gleiberman
    Harold and Kumar share a quality the overgrown adolescents in films like this are never allowed to possess: They're witty, focused, and highly aware. They make having a brain look hip.
    • 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.
    • 82 Metascore
    • 83 Owen Gleiberman
    Shot in spooky gradations of silver and shadow, The Prisoner of Azkaban is the first movie in the series with fear and wonder in its bones, and genuine fun, too.
    • 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.
    • 77 Metascore
    • 83 Owen Gleiberman
    A large-scale military drama with a quiet, almost mournful center.
    • 54 Metascore
    • 83 Owen Gleiberman
    U-Turn is an overdue event, a chance for Stone to apply his hypnotic acid-trip-of-the-soul wizardry to something sexy and lowdown.
    • 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.
    • 53 Metascore
    • 83 Owen Gleiberman
    In this quiet, absorbing, shades-of-gray drama, a kind of thriller meditation on the schism in Northern Ireland, we get the story of not one but two powerfully opposing heroes.
    • 71 Metascore
    • 83 Owen Gleiberman
    As the village is destroyed, its people humiliated, hunted down, and murdered, Singleton brings the images and underlying psychological truths of American racial violence to the screen with a brute dramatic force that few directors have matched.
    • 62 Metascore
    • 83 Owen Gleiberman
    More than just a walking fat joke, Sherman Klump is Eddie Murphy's winking rebuke of his own arrogance.
    • 65 Metascore
    • 83 Owen Gleiberman
    Basquiat is an engrossing spectacle, but by the end, as a zoned-out Basquiat stands regally in a cruising Jeep, we realize that Schnabel has reconfigured his story as a kind of ghostly myth, and that we've never completely seen the man behind it.
    • 75 Metascore
    • 83 Owen Gleiberman
    The final affirmation of this romance is really an affirmation of Baumbach's talent: that a young filmmaker fixated on the solipsistic rituals of guyhood understands the hearts of women, too.
    • 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.
    • 54 Metascore
    • 83 Owen Gleiberman
    Return to Paradise is "Midnight Express" remade from the outside, as existential quandary. It has the moody, disquieting undertow of a true moral thriller.
    • 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.
    • 55 Metascore
    • 83 Owen Gleiberman
    A rousingly square romantic epic spiced with dashes of sex and bloodlust; it's "Robin Hood" meets "The Last of the Mohicans" meets "Death Wish".
    • 55 Metascore
    • 83 Owen Gleiberman
    The film knows how absurd this is, yet its triumph is that, by the end, we're actually rooting for Mary to see the library as her salvation.
    • 58 Metascore
    • 83 Owen Gleiberman
    The movie, like the book, is a work of opportunistic gamesmanship, a luridly farfetched conspiracy thriller masquerading as an inquiry into the zeitgeist. You can't take Disclosure very seriously, yet the film has been made with cleverness and skill, and with a keen eye for the latest styles in corporate paranoia and ruthlessness.
    • 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.
    • 47 Metascore
    • 83 Owen Gleiberman
    The whole movie is a diversionary activity. It's trash so compacted it glows.
    • 66 Metascore
    • 83 Owen Gleiberman
    An enjoyably supercharged and ultraviolent teen-rebel comic-book fantasy that might be described -- in spirit, at least -- as reality-based.
    • 40 Metascore
    • 83 Owen Gleiberman
    Will take you places you haven't been, and also places you have.
    • 85 Metascore
    • 83 Owen Gleiberman
    Wiseman reveals the victims of domestic abuse in all of their pity and terror.
    • 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.
    • 69 Metascore
    • 83 Owen Gleiberman
    People Say I'm Crazy doesn't defuse, or romanticize, the trauma of mental illness. It just humanizes it.
    • 77 Metascore
    • 83 Owen Gleiberman
    Unlike the first two Decline films, this one is only tangentially concerned with music.
    • 67 Metascore
    • 83 Owen Gleiberman
    Steel City could have used more rhythmic drive, but if Jun keeps weaving together characters this compelling, he could be a major film artist in the making.
    • 69 Metascore
    • 83 Owen Gleiberman
    Joshua does grow a bit repetitious (it lacks the cathartic climaxes of a horror film), yet it has cool and savvy fun with your fears.
    • 57 Metascore
    • 83 Owen Gleiberman
    There's an unconvincing last-act twist, but this is the movie "Little Children" wanted to be.
    • 74 Metascore
    • 83 Owen Gleiberman
    A highbrow chick flick that made me feel older, in a good way.
    • 44 Metascore
    • 83 Owen Gleiberman
    Can a movie be gripping and repellent at the same time? In Funny Games, a mockingly sadistic and terrifying watch-the-middle-class-writhe-like-stuck-pigs thriller, the director Michael Haneke puts his characters in a vise, and the audience too.
    • 66 Metascore
    • 83 Owen Gleiberman
    If you want to hear juicy inside tales of the scams devised by Lee Atwater, the right-wing visionary of media-age dirty tricks, you'll find loads of them in Boogie Man.
    • 75 Metascore
    • 83 Owen Gleiberman
    It's memorable when it meditates on the changing face of where we look at art, and how that changes the art itself.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 83 Owen Gleiberman
    Fans will gorge on this deft, year-by-year portrait of the ultimate enduring cult band.
    • 45 Metascore
    • 83 Owen Gleiberman
    Yes, Stone gets cozy with Hugo Chávez, soft-pedaling the Venezuelan president's crackdown tendencies, but he also captures South America in a paradigm shift, wrenching itself free of centuries of colonial control. The film is rose-colored agitprop, but it catches a current of history.
    • 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.
    • 69 Metascore
    • 83 Owen Gleiberman
    The first rock & roll kung fu videogame youth love story.
    • 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
    Unravels the deceptions -- and the deep dishonor -- that inflated life-size valor into fake superheroism.
    • 51 Metascore
    • 83 Owen Gleiberman
    Going the Distance may be a minor movie, but it's also the rare romantic comedy in which you can actually believe what you're seeing.
    • 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.
    • 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.
    • 63 Metascore
    • 83 Owen Gleiberman
    Too goofy-surreal to pack a lot of emotional punch, but it's antically light on its feet, with 3-D images that have a lustrous, gizmo-mad sci-fi clarity.
    • 67 Metascore
    • 83 Owen Gleiberman
    The movie's redemptive structure is a bit routine, yet I watched nearly every scene with a sense of discovery. Coppola is a true filmmaker, and in Somewhere she pierces the Hollywood bubble from the inside.
    • 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.
    • 69 Metascore
    • 83 Owen Gleiberman
    Fair Game gets you riled up all over again at a deeply unpatriotic abuse of power.
    • 79 Metascore
    • 83 Owen Gleiberman
    Lurid and voluptuous pulp fun, with a sensationalistic fairy-tale allure. You can't take it too seriously, but you can't tear your eyes away from it, either.
    • 56 Metascore
    • 83 Owen Gleiberman
    It's a minimalist "Sideways," not so much mumblecore as talkycore.
    • 94 Metascore
    • 83 Owen Gleiberman
    A rivetingly journalistic account of a scoundrel's rise and fall.
    • 49 Metascore
    • 83 Owen Gleiberman
    Arnold Schwarzenegger appears as the rare politician who supports reform in this timely exposé of how our democracy has slipped off its tracks.
    • 68 Metascore
    • 83 Owen Gleiberman
    Deepens the saga of New York's former governor and attorney general into the paradoxical morality play it really was. Spitzer, almost three years after he was caught soliciting escorts, comes off as chastened but still regal, like a hawkeyed Jewish Kennedy.
    • 67 Metascore
    • 83 Owen Gleiberman
    Paul Giamatti, dialing down his trembly-voiced neurotic energy to good effect, gives a holy hell of a performance as Barney Panofsky.
    • 52 Metascore
    • 83 Owen Gleiberman
    If this is what it sounds like when a new millennium goes pop, I'll take it.
    • 67 Metascore
    • 83 Owen Gleiberman
    High-octane trash, but you will go "Ohhhhhh!"
    • 44 Metascore
    • 83 Owen Gleiberman
    Here, as in "The Hangover," the laughs aren't just staged, they're superlatively engineered.
    • 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.
    • 59 Metascore
    • 83 Owen Gleiberman
    In Limitless, a potently fanciful and fun thriller about a drug that turns you into a genius, Cooper proves a cock-of-the-walk movie star.
    • 17 Metascore
    • 83 Owen Gleiberman
    Far more grotesque than the first Human Centipede - in fact, The Human Centipede 2 (Full Sequence) could be the sickest B movie ever made.
    • 75 Metascore
    • 83 Owen Gleiberman
    Win Win, it turns out, isn't a tale of facile victory. It's a movie about how loss makes everyone do things they'll both defend and regret.
    • 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.
    • 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.
    • 46 Metascore
    • 83 Owen Gleiberman
    The movie is like a less original "WALL•E," but it's still vibrant and touching.
    • 69 Metascore
    • 83 Owen Gleiberman
    In terms of storytelling, The Avengers is for the most part a highly functional, banged-together vehicle that runs on synthetic franchise fuel. Yet the grand finale of CGI action, set in the streets of New York, is - in every sense - smashing.
    • 60 Metascore
    • 83 Owen Gleiberman
    The story in Madagascar 3 is functional, but the antically civilized spirit is infectious.
    • 72 Metascore
    • 83 Owen Gleiberman
    Bellflower is stylishly watchable - even when it's preposterous.
    • 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.
    • 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.
    • 74 Metascore
    • 83 Owen Gleiberman
    Higher Ground breaks crucial, sacred ground in American moviemaking.
    • 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.
    • 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.
    • 57 Metascore
    • 83 Owen Gleiberman
    So scrupulously researched and argued that only a fool would ignore its findings.
    • 64 Metascore
    • 83 Owen Gleiberman
    Harper Lee hasn't been interviewed in 47 years, but this meditation on her only novel, "To Kill a Mockingbird," puts you inside her skin.
    • 62 Metascore
    • 83 Owen Gleiberman
    A lively, original, and scattershot-hilarious ramble of a Judd Apatow production.
    • 55 Metascore
    • 83 Owen Gleiberman
    Depp's performance is more than just funny - it's ghoulishly endearing.
    • 61 Metascore
    • 83 Owen Gleiberman
    I wish that the film had more of the tasty futuristic detail promised by that dummy parole officer. I also wish that Blomkamp took us deeper into the world of Elysium.
    • 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.
    • 73 Metascore
    • 83 Owen Gleiberman
    A tangy raw stew of history, even if it never begins to confront the contradictions that bedeviled black militancy.
    • 74 Metascore
    • 83 Owen Gleiberman
    As long as the MPAA is issuing its cavalier decrees, though, they're the ones acting like bullies.
    • 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."
    • 71 Metascore
    • 83 Owen Gleiberman
    For a documentary that's almost engineered to lift your heart, Undefeated is very well done.
    • 83 Metascore
    • 83 Owen Gleiberman
    A great many filmmakers — too many — use handheld cameras to evoke a sensation of raw, this is really happening immediacy. But director Paul Greengrass is unique. At a glance, his live-wire, ragged-camera method may seem overly familiar, but the way he employs it, that method is as expressive as the style of a superb novelist.
    • 42 Metascore
    • 83 Owen Gleiberman
    Won't Back Down says that whatever your feelings about the subject, lack of change cannot be the answer to our public-education crisis. Trying to cram an informational exposé and a vintage inspirational awards-bait weeper into one movie, Won't Back Down is awkward at times, yet it's also passionate in a surprisingly smart way. It makes a genuine drama out of impossible issues.
    • 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.
    • 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.''
    • 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!''
    • 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.
    • 74 Metascore
    • 83 Owen Gleiberman
    Frozen is a squarely enchanting fairy tale that shows you how the definition of what's fresh in animation can shift.
    • 70 Metascore
    • 83 Owen Gleiberman
    The creators of Captain America: The Winter ­Soldier have brought off something fresh and bold.
    • 62 Metascore
    • 83 Owen Gleiberman
    42
    Helgeland works in what I think of as a conservative — or maybe it's just really, really basic — neoclassical Hollywood style, spelling everything out, letting the story unfold in a plainspoken and deliberate fashion, with a big, wide, open pictorial camera eye. It's like the latter-day Clint Eastwood style, applied to material that's as traditional as can be.
    • 75 Metascore
    • 83 Owen Gleiberman
    Side Effects is mostly a good Saturday-night movie, but by the end, it's caused a few unintended side effects of its own: a bit of head-scratching, and a giggle or two of disbelief.
    • 67 Metascore
    • 83 Owen Gleiberman
    Robot & Frank is sentimental high-concept fluff that works.
    • 35 Metascore
    • 83 Owen Gleiberman
    The best thing about the movie is that it keeps drawing conclusions in opposite directions.
    • 72 Metascore
    • 83 Owen Gleiberman
    The movie is fascinating, though it smacks its own lips a bit too much at the tackiness of freak '70s stardom.
    • 55 Metascore
    • 83 Owen Gleiberman
    Cloud Atlas is certainly out to be a ''visionary'' mindbender, but the film's secret is that it's a nimbly entertaining and light-on-its-feet Hollywood contraption, with the actors cast in multiple roles as if playing a game of dress-up.
    • 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.
    • 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.
    • 55 Metascore
    • 83 Owen Gleiberman
    Urgent, heartfelt, and not-quite-as-predictable-as-you-think environmental rabble-rouser.
    • 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.
    • 48 Metascore
    • 83 Owen Gleiberman
    Woodley, through the delicate power of her acting, does something compelling: She shows you what a prickly, fearful, yet daring personality looks like when it's nestled deep within the kind of modest, bookish girl who shouldn't even like gym class.
    • 55 Metascore
    • 83 Owen Gleiberman
    It's a perfect summation of why he was the ultimate filmmaker.
    • 67 Metascore
    • 83 Owen Gleiberman
    Posey, her attention divided up into slivers, is funny as hell, but she's also terrifying in her evocation of a kind of moment-to-moment PowerPoint existence.
    • 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.
    • 76 Metascore
    • 83 Owen Gleiberman
    The movie is playful and makes no easy moral judgments.
    • 67 Metascore
    • 83 Owen Gleiberman
    Highlights Gaskin's down-home gumption as an advocate for the glory of natural childbirth.
    • 41 Metascore
    • 83 Owen Gleiberman
    Machete Kills is gruesomely baroque trash staged with a kinetic freedom that is truly eye-popping, so you can forgive its lapses, like how it goes on a little too long. Rodriguez's only real sin as a filmmaker is that he wants to give you way too much of a crazy ultraviolent good time.
    • 49 Metascore
    • 83 Owen Gleiberman
    The Fifth Estate is flawed (it grips the brain but not the heart), yet it feverishly exposes the tenor of whistle-blowing in the brave new world, with the Internet as a billboard for anyone out to spill secrets. Call it the anti-social network.
    • 71 Metascore
    • 83 Owen Gleiberman
    As a politico, Ed Koch loved power a little too much. But as a leader, he was a storybook embodiment of New York's contradictions, which is why his chapters in the city's saga loom so large.
    • 61 Metascore
    • 83 Owen Gleiberman
    The Jeffrey Dahmer Files is for hardcore Dahmer obsessives only.
    • 66 Metascore
    • 83 Owen Gleiberman
    Gordon-Levitt proves a natural filmmaker, nimbly staging Jon's highly amusing Catholic confessions, along with porn montages that mimic the dopamine-charged editing of "Requiem for a Dream." He also gets a terrific performance out of Tony Danza as Jon's hilariously blinkered brute of a dad.
    • 71 Metascore
    • 83 Owen Gleiberman
    The actors all blend terrifically, making this the film equivalent of great hang time.
    • 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.
    • 36 Metascore
    • 83 Owen Gleiberman
    Schrader tries to find the human side of it all, and he scores with Lohan, who taps a vulnerability beneath her dissolution to remind you why she's still a movie star.
    • 50 Metascore
    • 83 Owen Gleiberman
    Adam Scott has a controlled, almost overly impeccable charisma. Handsome, with small precise facial features, he has a witty, hiply downcast delivery that, on screen, can make him seem like a unit unto himself.
    • 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."
    • 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.
    • 83 Metascore
    • 75 Owen Gleiberman
    As visual spectacle, Avatar is indelible, but as a movie it all but evaporates as you watch it.
    • 63 Metascore
    • 75 Owen Gleiberman
    Shutter Island holds you, but it doesn't grip you. It's as if Scorsese had put his filmmaking fever on psychotropic drugs.
    • 43 Metascore
    • 75 Owen Gleiberman
    Del Toro, with his melancholy-brute features, endows this raging beast with some of the ''Why me?'' poignance you may remember from Lon Chaney Jr.'s performance in the original.
    • 55 Metascore
    • 75 Owen Gleiberman
    His (Gibson) slow-burn fury keeps the movie going, but not enough to invest us in any justice beyond payback.
    • 47 Metascore
    • 75 Owen Gleiberman
    A highly calculated act of mischief that sounds like a stunt cooked up for Howard Stern's radio show.
    • 67 Metascore
    • 75 Owen Gleiberman
    This Is It offers a raw and endearing sketch of a genius at work.
    • 73 Metascore
    • 75 Owen Gleiberman
    Overall it's more amusing than hilarious.
    • 86 Metascore
    • 75 Owen Gleiberman
    Slumdog Millionaire is nothing if not an enjoyably far-fetched piece of rags-to-riches wish fulfillment.
    • 35 Metascore
    • 75 Owen Gleiberman
    The sequence serves no real purpose beyond dazzle for dazzle's sake, but when you're watching it, that's purpose enough.
    • 56 Metascore
    • 75 Owen Gleiberman
    On screen, Twilight is repetitive and a tad sodden, too prosaic to really soar. But Hardwicke stirs this teen pulp to a pleasing simmer.
    • 53 Metascore
    • 75 Owen Gleiberman
    A marvelously designed piece of cartoon kinetics.
    • 96 Metascore
    • 75 Owen Gleiberman
    Ratatouille is a blithe concoction, as well as a miraculously textured piece of animated design.
    • 55 Metascore
    • 75 Owen Gleiberman
    This time we expect to be played, but the twist is that we're also touched -- which, the film implies, is the cinema's own form of deception.
    • 62 Metascore
    • 75 Owen Gleiberman
    As a fix of pop iconography, V for Vendetta is eyeball grabbing, even if it lacks the relentless videogame bravura that sold the Matrix films. As a movie, however, it's merely okay, with a pivotal dramatic weakness: Evey, for all the attentions of her revolutionary Svengali, remains, in essence, a bystander, and Portman, her head shaved, plays her like Joan of Arc as a tremulous Girl Scout.
    • 82 Metascore
    • 75 Owen Gleiberman
    If I respect Downfall more than I was enthralled by it, that's because its portayal stops short of revelation. Once you witness Hitler's denial, the film has little more to say about him.
    • 50 Metascore
    • 75 Owen Gleiberman
    Face becomes a study of the immigrant embrace of freedom in America - a bridge built over time and generations.
    • 63 Metascore
    • 75 Owen Gleiberman
    The Upside of Anger is overly therapized, yet Costner and Allen show you what it means not just to play a role but to inhabit it.
    • 61 Metascore
    • 75 Owen Gleiberman
    It took gifted hucksters to make this movie, a funny and spirited - what to call it?
    • 62 Metascore
    • 75 Owen Gleiberman
    If you want to see the missing link between John Wayne's squint and Clint Eastwood's sneer, look no further than Charlton Heston in Major Dundee.
    • 37 Metascore
    • 75 Owen Gleiberman
    This is a B movie rooted in gut-level stirrings of power and retaliation.
    • 72 Metascore
    • 75 Owen Gleiberman
    3-Iron is like a Raymond Carver story that slowly, inexorably takes on the dimensions of a ghostly fairy tale.
    • 71 Metascore
    • 75 Owen Gleiberman
    A testament to the discipline, humor, and life of kids who swing.
    • 72 Metascore
    • 75 Owen Gleiberman
    Beneath its exploration of fatherly distance, this is really a portrait of why cranks make better artists than earnest nice guys.
    • 66 Metascore
    • 75 Owen Gleiberman
    If you want a whiff of how unironic the 1970s were, consider bowling, a sport that on any given weekend was broadcast (usually on ABC) with the hushed solemnity of a moon launch.
    • 67 Metascore
    • 75 Owen Gleiberman
    I'd be lying if I didn't admit that Rock School, Don Argott's amusing and spirited documentary, would seem a heck of a lot niftier if its fire hadn't already been stolen by "School of Rock."
    • 80 Metascore
    • 75 Owen Gleiberman
    Anyone expecting a tender sunset elegy, however, has wandered into the wrong film. Saraband, despite a few wistful moments, is a poison pill of a reunion.
    • 63 Metascore
    • 75 Owen Gleiberman
    The moral murk of Crónicas would be more effective if the story weren't so contrived, yet the movie is worth seeing for Leguizamo's sinewy urgency, Alcázar's desperate cleverness as the killer, and the squalid, frantic atmosphere of Latin American hunger.
    • 67 Metascore
    • 75 Owen Gleiberman
    There is a method to its madness, since the madness here is really Cobain's. Last Days mythologizes his suicide as a haunting act of fulfillment: the consummation of a life that had already ceased to be.
    • 84 Metascore
    • 75 Owen Gleiberman
    Darwin's Nightmare points an all-purpose finger at globalization, yet the movie, as raw and vivid as it is, meanders terribly and - bigger problem - never hints at how the disasters it shows us are rooted in Africa's colonial past.
    • 82 Metascore
    • 75 Owen Gleiberman
    Ballard connects you to the beauteous inner calm of the wild, even if audiences today are looking for a lot less calm.
    • 83 Metascore
    • 75 Owen Gleiberman
    As an achievement in macabre visual wizardry, Tim Burton's Corpse Bride has to be reckoned some sort of marvel.
    • 56 Metascore
    • 75 Owen Gleiberman
    Going Shopping is sharp and funny about all the things that shopping can mean to the women who live to do it, and even to those who don't.
    • 68 Metascore
    • 75 Owen Gleiberman
    Might have been richer, tougher, more honestly liberal if it had revealed a few more shades of gray among the men.
    • 72 Metascore
    • 75 Owen Gleiberman
    This makes for a modestly touching journey, but New York Doll, in its wafer-thin way, is an oxymoron: a hagiographic tribute to a rocker with more passion than talent.
    • 75 Metascore
    • 75 Owen Gleiberman
    The movie, for all its half-baked visual marvels, remains remarkably faithful to Lewis' story, and the innocence of his passion begins to shine through. It's there, most spectacularly, in Aslan, the lion-king messiah.
    • 46 Metascore
    • 75 Owen Gleiberman
    The surprise of The Ringer is that the movie is pretty damn funny.
    • 55 Metascore
    • 75 Owen Gleiberman
    It's obligatory for a horror film to feature exploitative sex as an appetizer, but Roth, even as he fulfills the sleaze imperative, does something shrewder: He mocks his heroes, presenting them as cold-eyed horndog jerks who fail to see that they've wandered into an entire country of exploitation.
    • 45 Metascore
    • 75 Owen Gleiberman
    Let's not sell Tyler Perry short. As the vinegar-witted Madea, he's a drag performer of testy charm, but in his overlit patchwork way he's also making the most primal women's pictures since Joan Crawford flexed her shoulder pads.
    • 55 Metascore
    • 75 Owen Gleiberman
    Shepard's charisma has always reached back to an earlier time, so it's easy to accept him as a kind of pre-counterculture hero - Eastwood without the sneer - who aged into the era of tabloid scandal.
    • 87 Metascore
    • 75 Owen Gleiberman
    It makes sense that L'Enfant has been hailed as a masterpiece, since a masterpiece is what it's trying, in every unvarnished frame, to be. If you wandered unknowingly into the film, however, you would see this: a stark, fascinating, and naggingly detached character study.
    • 62 Metascore
    • 75 Owen Gleiberman
    Zahedi is ruefully funny and savage in his self-exposure.
    • 80 Metascore
    • 75 Owen Gleiberman
    Do Hou's films deserve to be seen? Absolutely, if only to end the myth that they're too perfect for this world.
    • 56 Metascore
    • 75 Owen Gleiberman
    It's a heartfelt movie that could have used a zigzaggier undercurrent, though Olyphant, in the sort of role that Paul Newman used to swagger through, has a star's easy command.
    • 72 Metascore
    • 75 Owen Gleiberman
    The surprise of Superman Returns is that it isn't a funky, ambitious conceptual reimagining, like last summer's "Batman Begins." This really IS your father's Superman; it re-creates - and updates, though just barely - the universe Donner invented.
    • 65 Metascore
    • 75 Owen Gleiberman
    An agreeable mischievous romp.
    • 65 Metascore
    • 75 Owen Gleiberman
    As entertaining as some of it is, is so cool that it's almost too cool. It takes the sin, and much of the juice, out of vice.
    • 66 Metascore
    • 75 Owen Gleiberman
    The races are scorchingly shot, and they lend the movie a zest.
    • 66 Metascore
    • 75 Owen Gleiberman
    A scrupulous and honorable film. Yet it never comes close to being a revelatory one; it sentimentalizes more than it haunts.
    • 37 Metascore
    • 75 Owen Gleiberman
    Stephens stages Another Gay Movie in a style of low-budget fluorescent overkill, but a handful of the gags are low-down funny.
    • 74 Metascore
    • 75 Owen Gleiberman
    If The Bridesmaid is middle-drawer Chabrol, it's almost worth going to just to watch Laura Smet, a vamp of not-so-basic instinct.
    • 71 Metascore
    • 75 Owen Gleiberman
    This modern slice of neorealism has been made with a skill, and humanity, that suggests Bahrani may have a "Bicycle Thief" in him yet.
    • 64 Metascore
    • 75 Owen Gleiberman
    To me, the most potent dimension of The U.S. vs. John Lennon is the way that it captures the contradictory romanticism of Lennon the radical.
    • 48 Metascore
    • 75 Owen Gleiberman
    Admit it: It's not every horror film that can make you feel preached at and slimed at the same time.
    • 84 Metascore
    • 75 Owen Gleiberman
    The movie opens as borderline Hitchcock, echoing the tone of the filmmaker's bravura "Bad Education" (2004), and then turns into a kind of overly conceptualized Tennessee Williams.
    • 55 Metascore
    • 75 Owen Gleiberman
    The film offers true insight into the patterns of war crimes, even if the songs sound disquietingly close to a call to violence.
    • 63 Metascore
    • 75 Owen Gleiberman
    There is much to poke at in Rocky Balboa, yet the movie, with its amusingly updated ''Gonna Fly Now'' montage and its very niftily staged climactic bout, summons just enough incredulous wit about just how often Rocky has been around this particular block to let Sylvester Stallone earn his nostalgia.
    • 57 Metascore
    • 75 Owen Gleiberman
    Miss Potter, right to the end, is the definition of a "nice" movie, and that makes it a genuine oddball in a universe of increasingly distressed and uncivilized pop culture.
    • 45 Metascore
    • 75 Owen Gleiberman
    A cheerfully disposable gangland freak-show thrill ride that's been directed by the gifted Joe Carnahan (Narc) as if he were trying to give the audience a seizure.
    • 74 Metascore
    • 75 Owen Gleiberman
    Now Ray has directed his second film, the abysmally titled Breach, and it's a bona fide companion piece, another true-life tale of duplicity gone secretly insane.
    • 64 Metascore
    • 75 Owen Gleiberman
    One of the rare movies from Israel that refuses to spell out its politics, and you may wind up grateful for the ambiguity.
    • 65 Metascore
    • 75 Owen Gleiberman
    Maxed Out, while occasionally muddled in its financial details, presents a more-accurate-than-not vision of a nation that is starting to look like a candidate for rehab, on both an individual and a national level, for its addiction to debt.
    • 82 Metascore
    • 75 Owen Gleiberman
    If Loach had given full voice to each side of this division, he could have made a great film -- maybe THE great film -- about the Irish struggle.
    • 57 Metascore
    • 75 Owen Gleiberman
    The film reveals, rather delectably, how potent the power of suggestion can be in a world gone madly groupie.
    • 54 Metascore
    • 75 Owen Gleiberman
    Vacancy is a schlock surprise: a no-frills motel-hell slasher film -- with a bit of soul.
    • 46 Metascore
    • 75 Owen Gleiberman
    An authentic real-world creep show -- better, if anything, than its predecessor.
    • 64 Metascore
    • 75 Owen Gleiberman
    A deft Stephen King freak-out.
    • 69 Metascore
    • 75 Owen Gleiberman
    An enjoyable pop projection of post-9/11 anxiety.
    • 64 Metascore
    • 75 Owen Gleiberman
    A spectacularly turbulent portrait of the chaos and bloodshed that have come to define Haiti.
    • 55 Metascore
    • 75 Owen Gleiberman
    Becoming Jane has a burnished feminine sadness, and the director, Julian Jarrold, gives it a creamy-dark visual flow.
    • 45 Metascore
    • 75 Owen Gleiberman
    It's been a while since we saw a demagogic feminist exploitation revenge drama, and Descent, while top-heavy with ''agenda,'' is shrewdly done.
    • 66 Metascore
    • 75 Owen Gleiberman
    It's the closest the movies have come in a while to the nudgy, knowing fairy-tale enchantment of "The Princess Bride."
    • 56 Metascore
    • 75 Owen Gleiberman
    Atkinson's goofball grotesquerie never lets up -- right through to the inspired finale.
    • 52 Metascore
    • 75 Owen Gleiberman
    John August directs it briskly, as a gossip-era "Twilight Zone" of image and reality.
    • 76 Metascore
    • 75 Owen Gleiberman
    This is how a Western today tries to give us more bang for the buck. By working this hard to be a crowd-pleaser, though, it may please fewer crowds.
    • 82 Metascore
    • 75 Owen Gleiberman
    It's an academic meditation in underworld-thriller drag -- a movie that looks about as close to a straight-ahead, down-and-dirty genre entertainment as anything the director has made since his exploding-head horror days.
    • 69 Metascore
    • 75 Owen Gleiberman
    Who said that an environmental horror film couldn't be didactic and spooky at the same time?
    • 49 Metascore
    • 75 Owen Gleiberman
    It's like "Deathtrap" crossed with "Cribs" as staged by Stanley Kubrick.
    • 76 Metascore
    • 75 Owen Gleiberman
    Meticulous and detailed, a drug-world epic that holds you from moment to moment, immersing you in the intricate and sleazy logistics of crime. Yet the movie isn't quite enthralling; it's more like the ghost version of a '70s classic.
    • 47 Metascore
    • 75 Owen Gleiberman
    The tiny scale and armchair talkiness mark the movie as a bit of a folly, an act of idealistic hubris in today's commercial marketplace, yet that's its (minor) fascination too.
    • 65 Metascore
    • 75 Owen Gleiberman
    In spirit, I Am Legend is caught in some abstractly doom-laden sci-fi past. For what it is, though, the film is well-done, a case of suspenseful competence trumping questionable relevance.
    • 65 Metascore
    • 75 Owen Gleiberman
    The Great Debaters is like one of those sentimentally revved youth-sports-team crowd-pleasers. This time, though, the sport is debating, and the setting is an elite black college in Marshall, Tex., in 1935
    • 49 Metascore
    • 75 Owen Gleiberman
    Allen's latest, Cassandra's Dream, is one of his debonair ''small'' entertainments, the closest that he has come to doing a tidy, no-frills, down-and-dirty genre thriller.
    • 63 Metascore
    • 75 Owen Gleiberman
    The movie walks the line of surreal vulgarity (you will not, repeat not, expect the penis), yet most of it, intentionally, is less nutzoid than your average megaplex genre parody.
    • 68 Metascore
    • 75 Owen Gleiberman
    Though the film gets a bit repetitive, in its moving climax Lior does more than just have his bar mitzvah -- he earns it.
    • 69 Metascore
    • 75 Owen Gleiberman
    Chicago 10 is well worth seeing, if only because a good half of the film is devoted to extraordinary footage of the four days of rage that spawned the trial.
    • 50 Metascore
    • 75 Owen Gleiberman
    A classy romantic cocktail distinguished by its tart yet breezy bite.
    • 48 Metascore
    • 75 Owen Gleiberman
    21
    The fun of 21 is the way that this sharp, hyperaware star in the making, his face as readable as a mood ring, pours us into an adrenalized cocktail of fear, desire, and mental buzz.
    • 32 Metascore
    • 75 Owen Gleiberman
    Chapter 27 is far from flawless, but Leto disappears inside this angry, mouth-breathing psycho geek with a conviction that had me hanging on his every delusion.
    • 37 Metascore
    • 75 Owen Gleiberman
    A nice cookie-cutter comedy, no more and no less, but Dempsey, with his relaxed charm, and Monaghan, with her soft and peachy sensual spark, rise to the challenge of making friendship look like the wellspring of true love.
    • 62 Metascore
    • 75 Owen Gleiberman
    There are more chuckles than laughs, but the film does a witty job of replicating the hermetic, overlit shot language of '60s studio movies.
    • 61 Metascore
    • 75 Owen Gleiberman
    Stuart Gordon, the mostly under-the-radar director of "Re-Animator," pops back into view with this amusing trifle -- a piece of scuzzy tabloid noir.
    • 43 Metascore
    • 75 Owen Gleiberman
    this unfairly maligned sci-fi comedy testifies that Eddie Murphy still has the gift of surprise.
    • 64 Metascore
    • 75 Owen Gleiberman
    It ends up subverting its own subversion, arriving at a place that can only be called conventional.
    • 51 Metascore
    • 75 Owen Gleiberman
    Step Brothers is a Judd Apatow production and it's the closest that the Apatow factory has come to spitting out a dumb-and-dumber high-concept comedy.
    • 64 Metascore
    • 75 Owen Gleiberman
    The one performer who seems at home with the gravity of it all is Emma Thompson.
    • 56 Metascore
    • 75 Owen Gleiberman
    Even those of us who find anti-homosexual ''deprogramming'' to be hideously intolerant and naive may find ourselves oddly relieved that Mark is there (in a Christian rehab center).
    • 82 Metascore
    • 75 Owen Gleiberman
    At once scary and stirring.
    • 57 Metascore
    • 75 Owen Gleiberman
    These are standard youth-movie dilemmas, but they're brought to life by the high-energy cast and the musical numbers, which Ortega shoots with electrifying pizzazz.
    • 40 Metascore
    • 75 Owen Gleiberman
    Good has a stagy fustiness, but it's worth seeing for Mortensen, who makes this study of a "good German" look creepily contemporary.
    • 80 Metascore
    • 75 Owen Gleiberman
    All staged as a harsh poem of survival, with no great psychological interest, yet the ending carries a surprise feminist tug that’s worth the wait.
    • 61 Metascore
    • 75 Owen Gleiberman
    It's all a bit shapeless, yet made with sincerity and taste, and the two actors seize your sympathy.
    • 40 Metascore
    • 75 Owen Gleiberman
    Enjoyably dirty-minded sendup of when-ballet-met-hip-hop youth musicals.
    • 76 Metascore
    • 75 Owen Gleiberman
    What's infectious in Soul Power is the almost shocking optimism of its America-meets-Africa '70s world-beat vibe.
    • 61 Metascore
    • 75 Owen Gleiberman
    At its best, Capitalism: A Love Story is a searing outcry against the excesses of a cutthroat time. At its worst, it's dorm-room Marxism.
    • 61 Metascore
    • 75 Owen Gleiberman
    Fun, and believable, on the most important level: It convinces us that Jaden Smith has what it takes to fight his way to the top.
    • 36 Metascore
    • 75 Owen Gleiberman
    A blatant re-spin of ''The Fast and the Furious'' that also happens to be a far better movie.
    • 40 Metascore
    • 75 Owen Gleiberman
    Branagh shows us the comedy of a man who is too clever to understand that in the guise of dreading fatherhood, he is really at war with how much he longs for it.
    • 77 Metascore
    • 75 Owen Gleiberman
    For all the praise that has been heaped upon it, is a quasisatisfying, half realized vision.
    • 52 Metascore
    • 75 Owen Gleiberman
    Showcases a trio of terrific performances.
    • 75 Metascore
    • 75 Owen Gleiberman
    This trio is like a looser, funnier version of the family of wrecks in Woody Allen's ''Interiors.''
    • 60 Metascore
    • 75 Owen Gleiberman
    At times too restrained, yet there are moments it captures the erotics of intimacy in a way that makes most American love stories look downright unfree.
    • 62 Metascore
    • 75 Owen Gleiberman
    The thrust of the movie is that even for Jerry, the quintessential scientist of stand-up, comedy is very, very hard to do. By the end, you're closer to knowing why.
    • 62 Metascore
    • 75 Owen Gleiberman
    Little more than a rambling chain of combative buddy mishaps, but the interplay between Vaughn and Favreau, who does great double takes of thrusting chin frustration, spins you through the weak patches.
    • 32 Metascore
    • 75 Owen Gleiberman
    The movie, while heartfelt and vividly shot, takes too many rote genre turns.
    • 55 Metascore
    • 75 Owen Gleiberman
    Modest and prosaic, with an unfortunate fairy-tale ending (yes, it features Tom Jones).
    • 66 Metascore
    • 75 Owen Gleiberman
    A modest vérité portrait of Wilco, the engagingly melodious, deeply unglam alt-folk rockers.
    • 50 Metascore
    • 75 Owen Gleiberman
    If nothing else, Shaft is spicy fast food.
    • 60 Metascore
    • 75 Owen Gleiberman
    The film's best trick is the way that it treats conspiracy as a kind of political ''Blair Witch,'' a monstrous murk that haunts us precisely because it can never be seen.
    • 59 Metascore
    • 75 Owen Gleiberman
    In Happenstance, fortune doesn't just smile -- it schemes and tricks and zigzags, forming an urban road map of fate's detours.
    • 37 Metascore
    • 75 Owen Gleiberman
    Does all it can not to dehumanize Chong.
    • 63 Metascore
    • 75 Owen Gleiberman
    Younger, in his debut feature, is as canny as he is derivative.
    • 66 Metascore
    • 75 Owen Gleiberman
    Very much a kiddie ride, Stuart Little 2 is lively without being hyperactive -- it's a bouncy mouse caper with a wee bit of soul.
    • 57 Metascore
    • 75 Owen Gleiberman
    Too tightly made not to keep you watching, Holy Smoke is also too hokey and didactic to take seriously.
    • 73 Metascore
    • 75 Owen Gleiberman
    You know you're in the hands of a born filmmaker when he floods a scene with danger and excitement and, at the same time, tempers it with something more delicate -- a languor of the everyday.
    • 40 Metascore
    • 75 Owen Gleiberman
    Lawrence makes you believe in the character you're watching. He does an amazing little piece of acting.
    • 71 Metascore
    • 75 Owen Gleiberman
    Penn is a true talent, but there's just enough languid pretension to The Pledge to make you wonder if he's ultimately more interested in parading his promise as a director than in fulfilling it.
    • 50 Metascore
    • 75 Owen Gleiberman
    Moves along with a quietude, a scruffy direct plainness that has long gone out of style.
    • 53 Metascore
    • 75 Owen Gleiberman
    It's a pleasure to encounter a confectionary love story in which a man and woman of age and experience discover feelings that youth, more and more, has a patent on in Hollywood.
    • 55 Metascore
    • 75 Owen Gleiberman
    What holds the movie together, however, is Gibson's broodingly responsive performance.
    • 41 Metascore
    • 75 Owen Gleiberman
    Lands on an imaginative fault line somewhere between tackiness and awe.
    • 61 Metascore
    • 75 Owen Gleiberman
    The new version is actually better. It's still a fairly ham-handed revenge-of-the-nerd horror fable, but you don't go to a movie like Willard for subtlety. You go to be skeeved out by rats, rats, and more rats, and I'm tempted to say that Willard does a fairly rat-tastic job of it.
    • 58 Metascore
    • 75 Owen Gleiberman
    Colorful and exciting, yet unless you're a young moviegoer, nothing in it takes you by complete surprise. (It's less a nail-biter than a chin-stroker.)
    • 77 Metascore
    • 75 Owen Gleiberman
    Tom Hanks, Bill Paxton, and Kevin Bacon try to get inside the skins of these space-age pilot jocks, but the roles, as written, don't give them enough to work with.
    • 54 Metascore
    • 75 Owen Gleiberman
    Damon is a magical actor. His mind, as sharp and focused as a laser, beams out of the face of a vivacious choirboy, and, in nearly every scene, he invites you to share the jet-propelled pleasure of his precocious agility.
    • 69 Metascore
    • 75 Owen Gleiberman
    Had ''Boogie Nights'' been the tale of a California dreamer with a really long skateboard, the movie's delirious first half would have been ''Dogtown and Z-Boys,'' and its downbeat conclusion would be Stoked.
    • 64 Metascore
    • 75 Owen Gleiberman
    Assayas can't resist turning Demonlover into an overcalculatedly irrational rabbit-hole-to-the-dark-side thriller. The movie morphs into a ''dream,'' all right, but I confess that all I wanted to do was wake up from it and return to the slithery intrigue of corporate depravity.
    • 65 Metascore
    • 75 Owen Gleiberman
    The affair itself, in its genteel way, does catch fire, but it's the end of the affair that needs to move us to rapture, and the movie, instead, just drifts away.
    • 67 Metascore
    • 75 Owen Gleiberman
    It's a messy, entertaining documentary rooted in -- though not limited to -- the iconically indulgent years of Fellini's later career.
    • 42 Metascore
    • 75 Owen Gleiberman
    Snoop invests snarling meanness with as much authority as Clint Eastwood used to. As an actor, does this Dogg know any more tricks? At this point, he may not have to.
    • 68 Metascore
    • 75 Owen Gleiberman
    Roth, there's no denying, creates considerable suspense out of our desire to confront the forbidden.
    • 65 Metascore
    • 75 Owen Gleiberman
    The atmosphere of gentle communal chaos is authentic enough to become the movie's dramatic center.
    • 64 Metascore
    • 75 Owen Gleiberman
    Badly lit and at times, awkwardly inspirational, yet there's real feeling in it, especially when the movie suggests that Tourette's syndrome is every bit as pure an expression of the spirit as it is a ''disorder.''