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

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Deliver Us from Evil
Lowest review score: 0 Best Laid Plans
Score distribution:
2,348 movie reviews
    • 78 Metascore
    • 83 Owen Gleiberman
    Deeply rich and strange new romantic comedy.
    • 59 Metascore
    • 83 Owen Gleiberman
    Bow Wow plays the skate-dance hero in a way that's never too cool to hide what an avid achiever the kid is, and he and his buddies converse in a fiendishly alert middle-class trash talk that keeps Roll Bounce jumping.
    • 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]
    • 31 Metascore
    • 83 Owen Gleiberman
    A grubby, disturbing serial-killer mystery, a kind of blood-simple "Rashomon."
    • 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.
    • 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.
    • 65 Metascore
    • 83 Owen Gleiberman
    At times too movieish, yet Ashkenazi creates a memorable figure: a spy who operates - admirably - out of the most unyielding nationalist conviction, only to learn that he needs to let some of that conviction go.
    • 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.
    • 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.
    • 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.
    • 60 Metascore
    • 83 Owen Gleiberman
    Dark, funny, paranoid, arbitrary, humming with tamped-down eroticism and in love with all things weird: That's the good news.
    • 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.
    • 78 Metascore
    • 83 Owen Gleiberman
    The Golden Army dazzles like something out of "Jason and the Argonauts." To make a comic-book fantasy this derivative yet this dazzling requires more than technique. It takes a director in touch with his inner hellboy.
    • 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.
    • 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.
    • 47 Metascore
    • 83 Owen Gleiberman
    A mood of lush romantic decadence -- sleaze made enigmatic -- hovers over Where the Truth Lies, which has a score that works so hard to evoke "Vertigo" that it may leave you dizzy.
    • 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.
    • 47 Metascore
    • 83 Owen Gleiberman
    A pulsating snapshot of America caught in a mad, liberating identity crisis.
    • 74 Metascore
    • 83 Owen Gleiberman
    A highbrow chick flick that made me feel older, in a good 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.
    • 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.
    • 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.
    • 75 Metascore
    • 83 Owen Gleiberman
    Delectably caustic comedy.
    • 69 Metascore
    • 83 Owen Gleiberman
    The best thing about Revolutionary Road, a cool-blooded and disquieting adaptation of Richard Yates' 1961 novel about a powerfully unhappy Connecticut couple, is that it doesn't end with that rote vision of bourgeois anomie. It only begins there.
    • 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.
    • 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.
    • 78 Metascore
    • 83 Owen Gleiberman
    Andrew Bujalski's Funny Ha Ha, an ebullient sliver of a movie, follows a group of men and women in their early 20s, and for once the un-dialogue dialogue doesn't come off as an affectation.
    • 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.
    • 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.
    • 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.
    • 42 Metascore
    • 83 Owen Gleiberman
    Battle of the Smithsonian has plenty of life. But it's Adams who gives it zing.
    • 58 Metascore
    • 83 Owen Gleiberman
    Jarhead isn't overtly political, yet by evoking the almost surreal futility of men whose lust for victory through action is dashed, at every turn, by the tactics, terrain, and morality of the war they're in, it sets up a powerfully resonant echo of the one we're in today.
    • 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.
    • 69 Metascore
    • 83 Owen Gleiberman
    A fascinating glimpse at the perils of ''exporting'' democracy.
    • 77 Metascore
    • 83 Owen Gleiberman
    Through it all, Natalie Maines' decision to shirk humility, to stick by her guns, to the point that the group returns to that London concert venue in 2006 and she utters the same joke again, becomes a feisty and inspiring act of something there is only one word for: patriotism.
    • 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.
    • 76 Metascore
    • 83 Owen Gleiberman
    The movie is playful and makes no easy moral judgments.
    • 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.
    • 66 Metascore
    • 83 Owen Gleiberman
    Hurtling and impassioned, driven by some of the greatest popular music ever recorded, this wildly overripe and unkempt biopic is a true experience.
    • 50 Metascore
    • 83 Owen Gleiberman
    Devious and inspired enough to juice you past any weak spots. Thou shalt be amused.
    • 75 Metascore
    • 83 Owen Gleiberman
    Wide-ranging and beautifully edited -- it's a vivid evocation of a moment when even the ugliest guitar feedback could be taken as a serious political statement.
    • 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.
    • 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.
    • 77 Metascore
    • 83 Owen Gleiberman
    There's nothing drab about the tormented place these men take each other to. You'll want to go along.
    • 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.
    • 61 Metascore
    • 83 Owen Gleiberman
    The Jeffrey Dahmer Files is for hardcore Dahmer obsessives only.
    • 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.
    • 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.
    • 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.
    • 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".
    • 58 Metascore
    • 83 Owen Gleiberman
    First Snow is essentially a short story with a metaphysical twist, but Pearce puts his fears more up front than any actor I can think of.
    • 69 Metascore
    • 83 Owen Gleiberman
    Fair Game gets you riled up all over again at a deeply unpatriotic abuse of power.
    • 73 Metascore
    • 83 Owen Gleiberman
    Roberts, in her most forceful dramatic performance, allows us to take in every moment through fresh, impassioned eyes.
    • 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.
    • 74 Metascore
    • 83 Owen Gleiberman
    A documentary that digs deep inside this most revolutionary and tortured of punk quartets, it's hard not to feel that the Ramones, who never had a hit record, were the greatest band in 50 years to be stonewalled out of success.
    • 60 Metascore
    • 83 Owen Gleiberman
    I don't think it's too much of a stretch to say that this oasis of romance amid the turmoil of Shanghai represents the way that Merchant and Ivory, for 40 years, saw themselves: as a sanctuary of calming, life-size taste in a movie culture grown coarse. It was often far from perfect, but I'll miss that sanctuary.
    • 67 Metascore
    • 83 Owen Gleiberman
    What holds The Eclipse together is Hinds' sorrowful and moving performance as a man haunted in more ways than one.
    • 48 Metascore
    • 83 Owen Gleiberman
    At 73, Chomsky seems to understand everything about power and aggression -- except, that is, its centrality to human nature.
    • 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.
    • 81 Metascore
    • 83 Owen Gleiberman
    Rapt and beautiful and absorbing.
    • 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.
    • 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.
    • 75 Metascore
    • 83 Owen Gleiberman
    Yet S21, unlike many documentaries about the Nazi era, isn't a sickening panorama of brutality. Shot on video, it's quiet and intimate.
    • 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.
    • 47 Metascore
    • 83 Owen Gleiberman
    It's like Woodstock without the mud, and it leaves you feeling clean.
    • 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.
    • 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.
    • 43 Metascore
    • 83 Owen Gleiberman
    Palmetto has a satisfyingly deceptive plot that ultimately takes one too many turns.
    • 55 Metascore
    • 83 Owen Gleiberman
    Depp's performance is more than just funny - it's ghoulishly endearing.
    • 47 Metascore
    • 83 Owen Gleiberman
    It's an indelibly warped cartoon of lust and despair.
    • 49 Metascore
    • 83 Owen Gleiberman
    The movie IS a provocation, but not a glib or ideologically myopic one.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 83 Owen Gleiberman
    Fans will gorge on this deft, year-by-year portrait of the ultimate enduring cult band.
    • 72 Metascore
    • 83 Owen Gleiberman
    Gripping in its intimacy.
    • 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.
    • 65 Metascore
    • 83 Owen Gleiberman
    The movie, which has the slightly glum perversity of early Chabrol, is a dream of betrayal, with the squirmiest attack-of-nature tableau since Willard.
    • 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.
    • 69 Metascore
    • 83 Owen Gleiberman
    Williams hasn't been this sympathetic in years.
    • 66 Metascore
    • 83 Owen Gleiberman
    It hooks you up, happily, to your inner top chef.
    • 71 Metascore
    • 83 Owen Gleiberman
    Full of splendidly shot wonders.
    • 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.
    • 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.
    • 60 Metascore
    • 83 Owen Gleiberman
    It's eye candy that detonates.
    • 78 Metascore
    • 83 Owen Gleiberman
    Gini Reticker's simply made, affecting documentary Pray the Devil Back to Hell reveals how these heroic ordinary women prodded the factions to peace and literally brought down Taylor, a leader of sociopathic cruelty.
    • 59 Metascore
    • 83 Owen Gleiberman
    Smart enough to hook us with the best thing it has going: Cedric the Entertainer's gruffly uproarious and lived-in performance as Eddie.
    • 56 Metascore
    • 83 Owen Gleiberman
    It's a minimalist "Sideways," not so much mumblecore as talkycore.
    • 67 Metascore
    • 83 Owen Gleiberman
    Highlights Gaskin's down-home gumption as an advocate for the glory of natural childbirth.
    • 64 Metascore
    • 83 Owen Gleiberman
    The Young Victoria has a subtler flow than you might expect, and at times it's calmer than you may like. Director Jean-Marc Vallée's images have a creamy stateliness, but this is no gilded? princess fantasy.
    • 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.
    • 40 Metascore
    • 83 Owen Gleiberman
    Will take you places you haven't been, and also places you have.
    • 64 Metascore
    • 83 Owen Gleiberman
    A breakneck inner-city odyssey of jump-cut shaky-cam suspense.
    • 79 Metascore
    • 83 Owen Gleiberman
    Captures the Joe Strummer who, in the late 1970s, just about firebombed the rock establishment with his fury.
    • 76 Metascore
    • 83 Owen Gleiberman
    Dreamgirls is the rare movie musical with real rapture in it.
    • 51 Metascore
    • 83 Owen Gleiberman
    The movie is sensationally exciting, but its hey-kids-let s-put-on-a-war! story line plays like Beverly Hills, 90210 recast as a military-recruitment film for the Third Reich.
    • 53 Metascore
    • 83 Owen Gleiberman
    A movie that taps directly back into the show's primal appeal, which is the sweet, sad, saucy delight of sharing these women's company.
    • 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
    Hannibal lacks the rounded emotional elegance of ''The Silence of the Lambs'' (that was a great film; this one is merely good).
    • 79 Metascore
    • 83 Owen Gleiberman
    The movie draws us into complicity with someone who may be on the verge of insanity, but only because he's living with the unbearable.
    • 86 Metascore
    • 83 Owen Gleiberman
    Unravels the deceptions -- and the deep dishonor -- that inflated life-size valor into fake superheroism.
    • 82 Metascore
    • 83 Owen Gleiberman
    The film's style is so ''objective'' it's a bit subdued, yet this is a sports drama of total originality, as well as the most authentic inside view of the immigrant experience the movies have given us in quite a while.
    • 66 Metascore
    • 83 Owen Gleiberman
    A gratifyingly clever, booby-trapped thriller that has enough fun and imagination and dash to more than justify its existence.
    • 69 Metascore
    • 83 Owen Gleiberman
    People Say I'm Crazy doesn't defuse, or romanticize, the trauma of mental illness. It just humanizes it.
    • 57 Metascore
    • 83 Owen Gleiberman
    Lila, played by Vahina Giocante, who resembles a sexed-up young Emma Thompson, is a teasing, 16-year-old blond baby doll with a gleam of perception beyond her years.
    • 62 Metascore
    • 83 Owen Gleiberman
    Has too many contrivances, but as an act of sinister staging, it proves Lucas, the noted playwright, to be a born filmmaker.
    • 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.
    • 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.
    • 26 Metascore
    • 83 Owen Gleiberman
    The film is consistently fun, and Tucker's comeuppance ? will leave you gasping (if not gagging) with laughter.
    • 74 Metascore
    • 83 Owen Gleiberman
    As the jabbering psychotic Jeffrey Goines, Brad Pitt has a rabid, get-a-load-of-me deviousness that works for the film's central mystery: We can't tell where the fanatic leaves off and the put-on artist begins.
    • 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.
    • 58 Metascore
    • 83 Owen Gleiberman
    Hard Candy is extreme - a battle of the sexes that glides from tricky to angry to shockingly ugly.
    • 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.
    • 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.
    • 72 Metascore
    • 83 Owen Gleiberman
    Rock gives Good Hair a rousing message: Where African-Americans in the '60s adopted a ''natural'' look, they now feel free to coif their heads any way they want. That's cultural power.
    • 62 Metascore
    • 83 Owen Gleiberman
    A lively, original, and scattershot-hilarious ramble of a Judd Apatow production.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    That's Trumbo's message -- that the true victim was America.
    • 59 Metascore
    • 83 Owen Gleiberman
    The man has the right to retire, but what will he do with all the words in his head?
    • 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.
    • 65 Metascore
    • 83 Owen Gleiberman
    The director, Joseph Lovett, wants us to ask if there's such a thing as too much freedom, and he has the sobriety to say yes -- and no.
    • 70 Metascore
    • 83 Owen Gleiberman
    The joy of cartoons meets the agony of office politics in this fascinating, inside- Hollywood-baseball documentary.
    • 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.
    • 67 Metascore
    • 83 Owen Gleiberman
    Cameron wants to take the audience ''back to 'Titanic,''' but the journey's magic is hemmed in, paradoxically, by the transcendence of his previous effort; surely he must know that a lot of us never left.
    • 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.
    • 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.
    • 73 Metascore
    • 83 Owen Gleiberman
    The key to The Company is the quiet, focused rapture of Neve Campbell, who formally trained in ballet and performed all of her on-screen dances. The tranquil delight she takes in her body becomes its own eloquent form of acting.
    • 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.
    • 78 Metascore
    • 83 Owen Gleiberman
    Control goes past the clichés of punk rock-god gloom to offer a snapshot of alienation that's shockingly humane.
    • 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.
    • 53 Metascore
    • 83 Owen Gleiberman
    Ritchie concocts a crime-jungle demimonde that's organically linked to the real world, and it's a damn fun one to visit.
    • 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.
    • 77 Metascore
    • 83 Owen Gleiberman
    A fascinating and lovingly crafted musical documentary that nevertheless misunderstands its own subject.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 83 Owen Gleiberman
    As skewed, prismatic, and free of fluff as the man himself.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 83 Owen Gleiberman
    Lurie hits closer to the bone here than he did in his ham-handed "The Contender" (2000).
    • 70 Metascore
    • 83 Owen Gleiberman
    The creators of Captain America: The Winter ­Soldier have brought off something fresh and bold.
    • 60 Metascore
    • 83 Owen Gleiberman
    The story in Madagascar 3 is functional, but the antically civilized spirit is infectious.
    • 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.
    • 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
    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.
    • 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.
    • 65 Metascore
    • 83 Owen Gleiberman
    It's an enjoyable ramble, with a feel for what made the early days of rock as wild as any that followed.
    • 52 Metascore
    • 83 Owen Gleiberman
    If this is what it sounds like when a new millennium goes pop, I'll take it.
    • 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.
    • 77 Metascore
    • 83 Owen Gleiberman
    A large-scale military drama with a quiet, almost mournful center.
    • 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.
    • 65 Metascore
    • 75 Owen Gleiberman
    Salt knows how to stay one step ahead of you in devious, if jaw-droppingly contrived, ways. The movie is fun, dammit. So who cares, really, if it's trash?
    • 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.
    • 91 Metascore
    • 75 Owen Gleiberman
    A crowd-pleaser, all right, but, for all its appeal, a naggingly sanctimonious one.
    • 52 Metascore
    • 75 Owen Gleiberman
    Squeezes fresh laughs out of what is, in essence, a rather startlingly post-Freudian, nature-trumps-nurture view of child development.
    • 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.
    • 47 Metascore
    • 75 Owen Gleiberman
    Tempting as it may be to dismiss Mel Gibson as a glorified pain freak, dressing up a martyrdom fantasy in Aramaic and Latin, it would be more accurate, I think, to say that the filmmaker, a Catholic fundamentalist, presents his torture-racked vision of Jesus' last 12 hours on earth as a sacred form of shock therapy.
    • 66 Metascore
    • 75 Owen Gleiberman
    Premium Rush earns its place as end-of-the-summer escapism, but I can't say that it's more than a well-done formula flick. At this point, it's just one more movie-as-ride. But this one at least lives up to its title.
    • 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.
    • 83 Metascore
    • 75 Owen Gleiberman
    As visual spectacle, Avatar is indelible, but as a movie it all but evaporates as you watch it.
    • 61 Metascore
    • 75 Owen Gleiberman
    Dunst, in her finest performance yet, has now transcended her fellow teen stars. She is arguably the first actress of her generation poised to take on Gwyneth and Julia.
    • 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.
    • 86 Metascore
    • 75 Owen Gleiberman
    Slumdog Millionaire is nothing if not an enjoyably far-fetched piece of rags-to-riches wish fulfillment.
    • 40 Metascore
    • 75 Owen Gleiberman
    Enjoyably dirty-minded sendup of when-ballet-met-hip-hop youth musicals.
    • 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.
    • 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.
    • 48 Metascore
    • 75 Owen Gleiberman
    An ingratiatingly scrappy little movie. It's been cobbled together out of a great many conventional crises (drugs, abusive boyfriends, heartless girlfriends, a looming record deal), yet there's a tough and appealing vitality to the way that it embraces the petty ego-tripping and party-down squalor of the rock lifestyle and stands apart from it at the same time.
    • 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.
    • 73 Metascore
    • 75 Owen Gleiberman
    Overall it's more amusing than hilarious.
    • 50 Metascore
    • 75 Owen Gleiberman
    It's really a one-joke movie, but the joke is a good one.
    • 52 Metascore
    • 75 Owen Gleiberman
    Carries little in the way of passion or revelatory charge.
    • 80 Metascore
    • 75 Owen Gleiberman
    Sweetgrass is austere enough to make Frederick Wiseman's films look like Jersey Shore episodes, yet it has its own suspense.
    • 49 Metascore
    • 75 Owen Gleiberman
    It's like "Deathtrap" crossed with "Cribs" as staged by Stanley Kubrick.
    • 60 Metascore
    • 75 Owen Gleiberman
    Embarrassingly entertaining.
    • 62 Metascore
    • 75 Owen Gleiberman
    As directed by series creator Rob Thomas, the movie, like the show, is entertainingly fast-talking in a tidy, faux-serious way. Kristen Bell, if anything, has only gained in appeal.
    • 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.
    • 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.
    • 38 Metascore
    • 75 Owen Gleiberman
    The Flintstones is a big, shiny package of comic nostalgia, as much a theme park as a movie.
    • 65 Metascore
    • 75 Owen Gleiberman
    Being Julia flirts too heavily with soap opera clichés, but it has enough surprises to keep you guessing, and for Annette Bening it's the liveliest of comebacks.
    • 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.
    • 59 Metascore
    • 75 Owen Gleiberman
    Back in his day, Mr. Peabody was a dog whose over-civility had bite. Now he's a genius you want to cuddle with.
    • 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.
    • 63 Metascore
    • 75 Owen Gleiberman
    Younger, in his debut feature, is as canny as he is derivative.
    • 50 Metascore
    • 75 Owen Gleiberman
    If nothing else, Shaft is spicy fast food.
    • 75 Metascore
    • 75 Owen Gleiberman
    Catching Fire is smoothly exciting but a bit of a tease.
    • 67 Metascore
    • 75 Owen Gleiberman
    Depp portrays a fellow who is openly gentle to the core, and the actor just about wraps the movie around his lilting delivery and quiescent gaze.
    • 53 Metascore
    • 75 Owen Gleiberman
    I knew perfectly well, after a while, what Sinister was going to scare me with. But I got scared anyway.
    • 65 Metascore
    • 75 Owen Gleiberman
    The trouble is, nothing about this couple is particularly rooted in Los Angeles. The love affair has a bland, generic feel. What's more, the picture lacks verve.
    • 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.
    • 78 Metascore
    • 75 Owen Gleiberman
    Son Frère is hushed, clinical, grimly paced, and moving.
    • 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.
    • 66 Metascore
    • 75 Owen Gleiberman
    The races are scorchingly shot, and they lend the movie a zest.
    • 63 Metascore
    • 75 Owen Gleiberman
    The film is brimming with plots, counterplots, dossiers, and sinister corrupt priorities, all held together by the telephoto obsidian gloss of Scott's look-ma-no-pauses style.
    • 58 Metascore
    • 75 Owen Gleiberman
    A lively, disposable hybrid of the sincere and the synthetic.
    • 77 Metascore
    • 75 Owen Gleiberman
    For all the praise that has been heaped upon it, is a quasisatisfying, half realized vision.
    • 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
    At times, Now You See Me suggests Christopher Nolan's "The Prestige" made with a throwaway wink.
    • 59 Metascore
    • 75 Owen Gleiberman
    In the end, Scent of a Woman offers little more than lumbering simulation of Rain Man's nimble magic. But Pacino's performance-scabrous, tender, ripely theatrical-is a master showman's trick.
    • 74 Metascore
    • 75 Owen Gleiberman
    And so even if you're held (as I was) by the acting, you may find yourself fighting the film's design. It reflects a certain lack of faith in your audience to take a performance as authentic as De Niro's and reduce it to the level of a glorified reach-out-and-touch-someone commercial.
    • 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.
    • 51 Metascore
    • 75 Owen Gleiberman
    It's hard to deny that Gallo has caught the freedom and melancholy, the intoxicating aimlessness, the lonely twilight beauty of a solo road trip in a way that no previous filmmaker quite has.
    • 52 Metascore
    • 75 Owen Gleiberman
    Imagine two movies...The first is a moody thriller about two brothers who pull off a bank job, take a family hostage, and head for Mexico. The second is a garish horror freak-out. The deranged hook of From Dusk Till Dawn is that it starts out as the first movie and turns, on a dime, into the second.
    • 68 Metascore
    • 75 Owen Gleiberman
    Paced a bit too glacially for my taste, yet it's worth sitting through for its trick ending, a twist of events as ominous as the landscape.
    • 77 Metascore
    • 75 Owen Gleiberman
    Scorsese, I think, is so invested in making The Aviator upbeat and rousing that the movie never quite reveals, the way that "Kinsey" or "Ray" or "A Beautiful Mind" or even a good E! True Hollywood Story do, how its hero's vision and his grand torments could be flip sides of the same temperament.
    • 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.
    • 57 Metascore
    • 75 Owen Gleiberman
    Every actor registers...In a film of minor ambition, they're all worthy company.
    • 54 Metascore
    • 75 Owen Gleiberman
    Vacancy is a schlock surprise: a no-frills motel-hell slasher film -- with a bit of soul.
    • 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.
    • 59 Metascore
    • 75 Owen Gleiberman
    Heartbreaker is like a caper comedy meets "The Bodyguard" - it's winsome and accomplished fluff.
    • 19 Metascore
    • 75 Owen Gleiberman
    For Sandler, it's not just when he grew up. It's the garden of idiotic innocence, something that, in Grown Ups 2, he is helping to keep alive.
    • 81 Metascore
    • 75 Owen Gleiberman
    I wish I could say that Wattstax was an ecstatic soul celebration, but most of the performances, while enjoyable, fall short of memorable.
    • 56 Metascore
    • 75 Owen Gleiberman
    In its wildly overwrought, burrito-Western way, is about as close to a home movie as you're likely to see in a megaplex.
    • 40 Metascore
    • 75 Owen Gleiberman
    Lawrence makes you believe in the character you're watching. He does an amazing little piece of acting.
    • 64 Metascore
    • 75 Owen Gleiberman
    A spectacularly turbulent portrait of the chaos and bloodshed that have come to define Haiti.
    • 75 Metascore
    • 75 Owen Gleiberman
    This trio is like a looser, funnier version of the family of wrecks in Woody Allen's ''Interiors.''
    • 49 Metascore
    • 75 Owen Gleiberman
    The film keeps throwing things at you, like a colorful ape pirate (Peter Dinklage) and a fun hallucination sequence. That said, the laughs are starting to feel prehistoric.
    • 30 Metascore
    • 75 Owen Gleiberman
    In the hands of director and co-writer Shana Feste (Country Strong), Endless Love has become a solidly engaging neo-'50s romantic melodrama.
    • 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.
    • 70 Metascore
    • 75 Owen Gleiberman
    The latest slacker manifesto, Clerks lacks the grunge artistry of either "Stranger Than Paradise" or "Slacker," but it's a fast, likable 90 minutes at the movies.
    • 57 Metascore
    • 75 Owen Gleiberman
    The movie is scattershot (intense at some moments, slack at others), but it earns its docu-style creepiness, and Karpovsky's stretch as an actor is daring and authentic.
    • 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.
    • 50 Metascore
    • 75 Owen Gleiberman
    The dialogue veers into digressions about ADHD, the cruddiness of mainstream dog food, and much else. That these asides prove more fun than the central action is what gives Hit & Run its flavor: tasty at times, even if the film evaporates as you watch it.
    • 64 Metascore
    • 75 Owen Gleiberman
    It ends up subverting its own subversion, arriving at a place that can only be called conventional.
    • 76 Metascore
    • 75 Owen Gleiberman
    Has moments of biting tenderness, yet the movie made me wish that Sheridan had let in more of America.
    • 52 Metascore
    • 75 Owen Gleiberman
    A tricky-bordering-on-gimmicky film noir with a glaze of soft-core kink.
    • 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.
    • 50 Metascore
    • 75 Owen Gleiberman
    Will Miss Perfect fall for the Leader of the Pack? It helps that he's played by Thomas McDonell, who's not only a dead ringer for the young Johnny Depp but also has a comparable charisma.
    • 64 Metascore
    • 75 Owen Gleiberman
    Each scene is staged methodically, overdeliberately, as if it concealed some payoff zinger. But the zingers don't arrive. All we see is a reasonably clever Elmore Leonard caper that needed to be treated as fast, trashy fun.
    • 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.
    • 60 Metascore
    • 75 Owen Gleiberman
    It's a movie of profoundly convoluted pop pleasures. Between dazzling suspense sequences, it invites the audience to work for a good time.
    • 78 Metascore
    • 75 Owen Gleiberman
    In this offbeat buddy-cop comedy, Don Cheadle, as an FBI agent trying to stop a drug ring, makes the perfect foil.
    • 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
    A big, fat, juicy spitball lobbed, with mostly dead-on aim, at the teen-smarm clichés that have accumulated like so much earwax over the last three years.
    • 65 Metascore
    • 75 Owen Gleiberman
    It's conventional stuff, only executed with a smart, improv-y verve.
    • 47 Metascore
    • 75 Owen Gleiberman
    The best thing about RED 2, like its predecessor, is its lightness of tone. Too many movies with comic-book roots come on too seriously, even when the comics themselves have a loose, fast, jocular wit about them.
    • 56 Metascore
    • 75 Owen Gleiberman
    More than ever, Johnny Knoxville and his boys belong to a very elite club of idiocy. They martyr themselves for our diversion, driven at every moment to ask: Are you not entertained?
    • 77 Metascore
    • 75 Owen Gleiberman
    So obsessed with wowing you, in every corner of every frame, that as a movie it doesn't quite breathe.
    • 50 Metascore
    • 75 Owen Gleiberman
    A classy romantic cocktail distinguished by its tart yet breezy bite.
    • 68 Metascore
    • 75 Owen Gleiberman
    Jim Carrey entertains himself mightily in Liar Liar, and his enthusiasm is infectious.
    • 62 Metascore
    • 75 Owen Gleiberman
    Zahedi is ruefully funny and savage in his self-exposure.
    • 37 Metascore
    • 75 Owen Gleiberman
    This is a B movie rooted in gut-level stirrings of power and retaliation.
    • 49 Metascore
    • 75 Owen Gleiberman
    Plays like an unusually ritzy festival circuit audition film, though McQuarrie, it must be said, aces the audition.
    • 60 Metascore
    • 75 Owen Gleiberman
    With Bullock doing a variation on her Miss Congeniality geek-tomboy-who-has-to-bloom character, and McCarthy letting her acidly oddball observations rip, the two actresses make their interplay bubble.
    • 62 Metascore
    • 75 Owen Gleiberman
    If The Matrix Reloaded is a trip through high-toned mediocrity, not nearly as suggestive or cohesive as ''The Matrix,'' it's one of the most wizardly mediocre movies I've seen in quite some time.
    • 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.
    • 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.
    • 71 Metascore
    • 75 Owen Gleiberman
    A testament to the discipline, humor, and life of kids who swing.
    • 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.
    • 55 Metascore
    • 75 Owen Gleiberman
    It's a toasty, star-packed ensemble comedy in which a handful of lonelyhearts attempt, with some success, to come out of their shells, and it's going to make a lot of holiday romantics feel very, very good; watching it, I felt cozy and charmed myself.
    • 55 Metascore
    • 75 Owen Gleiberman
    Slick, reasonably amusing, never asking its audience to swallow anything too wild for consumption.
    • 61 Metascore
    • 75 Owen Gleiberman
    It's like "Capturing the Friedmans" scrubbed to a happy ending.
    • 50 Metascore
    • 75 Owen Gleiberman
    Face becomes a study of the immigrant embrace of freedom in America - a bridge built over time and generations.
    • 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.
    • 64 Metascore
    • 75 Owen Gleiberman
    Eastwood is now playing a man whose will is stronger than his body, and it's that tension -- between anger and frailty, steel and decay -- that powers the movie.
    • 67 Metascore
    • 75 Owen Gleiberman
    The Well-Digger's Daughter pushes a number of nostalgia buttons at once, most of them pleasing.
    • 67 Metascore
    • 75 Owen Gleiberman
    Cairo Time is affectingly gentle, with Juliette slowing down to open up -- a gossamer transformation that Clarkson makes tangible.
    • 39 Metascore
    • 75 Owen Gleiberman
    On paper, the movie sounds unbearably schlocky, but Costner plays Garret the reluctant backcountry prince as mythic but also foxy and life size.
    • 50 Metascore
    • 75 Owen Gleiberman
    From what we can tell, Brown was a dancer, all right, in life as well as on the field -- a dancer with a powerful forearm, one that Lee covers in protective padding.
    • 64 Metascore
    • 75 Owen Gleiberman
    The one performer who seems at home with the gravity of it all is Emma Thompson.
    • 84 Metascore
    • 75 Owen Gleiberman
    A good but far from great movie because it portrays truth telling in America as far more imperiled than it is.
    • 70 Metascore
    • 75 Owen Gleiberman
    Gerron's terrible film was never shown in the places it was meant for, but in Prisoner of Paradise it reveals a queasy corner of the Nazi mind that tried to imagine a concentration camp as it fantasized the inmates might have.
    • 48 Metascore
    • 75 Owen Gleiberman
    As a comedy, 50 First Dates is standard Sandler, but as a love story it left me pleasantly buzzed, if not quite punch-drunk.
    • 62 Metascore
    • 75 Owen Gleiberman
    In About Last Night, Hart blows up, to hilariously oversize proportions, the eternal male desire for freedom. He’s raunch on wheels.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.)
    • 82 Metascore
    • 75 Owen Gleiberman
    So overstuffed with random fireworks that despite its politics, it's easy to imagine the film getting a four-star rave from Bush or Saddam.
    • 59 Metascore
    • 75 Owen Gleiberman
    As a character, Austin Powers hasn't worn out his welcome, exactly, but he has outlived his novelty.
    • 54 Metascore
    • 75 Owen Gleiberman
    A gonzo splatterfest from New Zealand that manages to stay breezy and good-natured even as you're watching heads get snapped off of spurting torsos.
    • 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.
    • 48 Metascore
    • 75 Owen Gleiberman
    Admission, a likably breezy campus movie directed by Paul Weitz (About a Boy), is blissfully non-insulting.
    • 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.
    • 76 Metascore
    • 75 Owen Gleiberman
    It’s neorealist corn, but it gets to you.
    • 71 Metascore
    • 75 Owen Gleiberman
    Lays on the compassion a little thick, yet its heartfelt squalor stays with you.
    • 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.
    • 60 Metascore
    • 75 Owen Gleiberman
    Chong does his time (nine months) and has the last laugh, emerging as a born-again activist-survivor of the culture wars.
    • 57 Metascore
    • 75 Owen Gleiberman
    Too tightly made not to keep you watching, Holy Smoke is also too hokey and didactic to take seriously.
    • 57 Metascore
    • 75 Owen Gleiberman
    The best thing about the movie, which is a very elegantly crafted piece of gothic snuff hokum, is the way it teases and intrigues us with the revelation of what's on that tape.
    • 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.
    • 64 Metascore
    • 75 Owen Gleiberman
    Moses was elevating mankind to a place closer to God, but when the Red Sea parts here, the feeling it gives you isn't awe; it's closer to deep impact.
    • 58 Metascore
    • 75 Owen Gleiberman
    The movie is a gently overstuffed cinematic piñata, crammed with tall tales -- with giants and circuses and fairy-tale woods, plus a huge squirmy catfish, all served up with a literal matter-of-fact fancy that is very pleasing.
    • 62 Metascore
    • 75 Owen Gleiberman
    An entertaining but also oddly naive documentary about American advertising.
    • 73 Metascore
    • 75 Owen Gleiberman
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    • 75 Owen Gleiberman
    His (Gibson) slow-burn fury keeps the movie going, but not enough to invest us in any justice beyond payback.
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    Becoming Jane has a burnished feminine sadness, and the director, Julian Jarrold, gives it a creamy-dark visual flow.
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    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.
    • 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.
    • 58 Metascore
    • 75 Owen Gleiberman
    You can have a reasonably nice time at Salmon Fishing in the Yemen if you accept that it's the tidiest movie imaginable to ever say that falling in love is like swimming upstream.

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