Owen Gleiberman
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For 2,346 reviews, this critic has graded:
  • 67% higher than the average critic
  • 2% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 6.3 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Century of the Self
Lowest review score: 0 Even Cowgirls Get the Blues
Score distribution:
2,346 movie reviews
    • 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.
    • 66 Metascore
    • 83 Owen Gleiberman
    The Prestige isn't art, but it reaps a lot of fun out of the question, How did they do that?
    • 63 Metascore
    • 83 Owen Gleiberman
    Hamilton, in her movie debut, is a find: the kinkstress next door.
    • 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".
    • 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.
    • 49 Metascore
    • 83 Owen Gleiberman
    The movie IS a provocation, but not a glib or ideologically myopic one.
    • 74 Metascore
    • 83 Owen Gleiberman
    Flushed Away lacks the action-contraption dottiness of a Wallace and Gromit adventure, but it hits its own sweet spot of demented delight.
    • 76 Metascore
    • 83 Owen Gleiberman
    Dreamgirls is the rare movie musical with real rapture in it.
    • 71 Metascore
    • 83 Owen Gleiberman
    After a lifetime of flogging the demons of cosmic despair, Ingmar Bergman, at 88, comes off as lean and vigorous in this fascinating memoir-interview.
    • 64 Metascore
    • 83 Owen Gleiberman
    It's a beautiful and understated performance, one that hums with a richer, quieter music than Smith has mustered before.
    • 55 Metascore
    • 83 Owen Gleiberman
    Pride doesn't have much surprise, but it's a formula picture of genuine feeling.
    • 72 Metascore
    • 83 Owen Gleiberman
    When C-Diddy (a.k.a. David Jung), in his samurai superman suit, does his note-perfect, lip-twisting, belly-jiggling manic mime of Extreme's ''Play With Me,'' it's hard not to grin and admit that, yes, this is almost an art form.
    • 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.
    • 68 Metascore
    • 83 Owen Gleiberman
    Fracture is working on us, playing us, but that's its pleasure. It makes overwrought manipulation seem more than a basic instinct.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 83 Owen Gleiberman
    Vitus, a fizzy domestic fairy tale from Switzerland, gives you a lift, as it revels in the oddball joy of genius as kid power.
    • 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.
    • 50 Metascore
    • 83 Owen Gleiberman
    Devious and inspired enough to juice you past any weak spots. Thou shalt be amused.
    • 57 Metascore
    • 83 Owen Gleiberman
    There's an unconvincing last-act twist, but this is the movie "Little Children" wanted to be.
    • 71 Metascore
    • 83 Owen Gleiberman
    There's no denying its grip: It is lurid, fascinating, sickening, and eye-opening.
    • 49 Metascore
    • 83 Owen Gleiberman
    Its pulpy violent excess will tip over...into slightly more excessive excess. That's its silly, scuzzball joy.
    • 54 Metascore
    • 83 Owen Gleiberman
    What makes The Hunting Party an original, gonzo treat is the way that Shepard plants the movie's tone somewhere between hair-trigger investigative danger and the from-the-frying-pan-into-the-fire glee of a Hope/Crosby picture.
    • 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.
    • 58 Metascore
    • 83 Owen Gleiberman
    It's galvanizing to see it played out through the furious contradiction of Carter's personality. He is pious, stubborn, compassionate, testy, moral, unreasonable, and wise.
    • 79 Metascore
    • 83 Owen Gleiberman
    Captures the Joe Strummer who, in the late 1970s, just about firebombed the rock establishment with his fury.
    • 67 Metascore
    • 83 Owen Gleiberman
    As skewed, prismatic, and free of fluff as the man himself.
    • 59 Metascore
    • 83 Owen Gleiberman
    Beowulf is a solemnly gorgeous, at times borderline stolid piece of Tolkien-with-a-joystick mythology.
    • 59 Metascore
    • 83 Owen Gleiberman
    This beautiful and urgent eco-doc takes a bite out of the shark mythology made indelible by "Jaws."
    • 69 Metascore
    • 83 Owen Gleiberman
    It's all about a likable scoundrel who discovers what it means to act out of conviction. The film's underlying twist, though, is tartly ironic.
    • 74 Metascore
    • 83 Owen Gleiberman
    A highbrow chick flick that made me feel older, in a good way.
    • 83 Metascore
    • 83 Owen Gleiberman
    Paranoid Park has the slightly glum insularity of minimalist fiction, but it's the first of Van Sant's blitzed-generation films in which a young man wakes up instead of shutting down.
    • 76 Metascore
    • 83 Owen Gleiberman
    In Shine a Light, a crackling concert movie directed by Martin Scorsese, the Rolling Stones are now so old that they seem new again.
    • 79 Metascore
    • 83 Owen Gleiberman
    Even at his coolest, Downey's Iron Man remains a ghostly, neurotic crusader -- one whose life, in the Marvel tradition, has become a grand spectacle of overcompensation.
    • 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.
    • 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.
    • 71 Metascore
    • 83 Owen Gleiberman
    That's Trumbo's message -- that the true victim was America.
    • 54 Metascore
    • 83 Owen Gleiberman
    As a movie, Hamlet 2 is lively, energetically daft, and very, very scrappy -- a broader, more loony-tunes knockoff of "Waiting for Guffman."
    • 47 Metascore
    • 83 Owen Gleiberman
    It's an indelibly warped cartoon of lust and despair.
    • 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.
    • 61 Metascore
    • 83 Owen Gleiberman
    The fun of Role Models is that it's a high-concept movie executed with speed and finesse and the kind of brusquely tossed-off obscene banter that can get you laughing before you know what hit you.
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 83 Owen Gleiberman
    Lurie hits closer to the bone here than he did in his ham-handed "The Contender" (2000).
    • 60 Metascore
    • 83 Owen Gleiberman
    Notorious makes the death of Biggie Smalls look like a tragic mistake, instead of the outgrowth of a culture devoted to selling the fantasy of who's the biggest man.
    • 89 Metascore
    • 83 Owen Gleiberman
    The result is a playful, elusive movie that isn't so much heartwarming as soul-cleansing.
    • 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.
    • 42 Metascore
    • 83 Owen Gleiberman
    Battle of the Smithsonian has plenty of life. But it's Adams who gives it zing.
    • 66 Metascore
    • 83 Owen Gleiberman
    It hooks you up, happily, to your inner top chef.
    • 68 Metascore
    • 83 Owen Gleiberman
    Spells out the problem in clear, urgent, prosaic terms.
    • 63 Metascore
    • 83 Owen Gleiberman
    Pfeiffer transcends any hint of cliché ''cougar'' voraciousness.
    • 31 Metascore
    • 83 Owen Gleiberman
    A grubby, disturbing serial-killer mystery, a kind of blood-simple "Rashomon."
    • 84 Metascore
    • 83 Owen Gleiberman
    The Cove is the rare documentary specifically designed as a thriller.
    • 69 Metascore
    • 83 Owen Gleiberman
    Williams hasn't been this sympathetic in years.
    • 75 Metascore
    • 83 Owen Gleiberman
    It's a David-and-Goliath tale, full of anger and disturbing accusation, but it's also inspiring.
    • 59 Metascore
    • 83 Owen Gleiberman
    It's the die-hard camaraderie that undergirded this squad and lifted it to the top.
    • 26 Metascore
    • 83 Owen Gleiberman
    The film is consistently fun, and Tucker's comeuppance ? will leave you gasping (if not gagging) with laughter.
    • 64 Metascore
    • 83 Owen Gleiberman
    Turns into a lyrical and stirring meditation on the mystery of autism.
    • 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.
    • 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.
    • 62 Metascore
    • 83 Owen Gleiberman
    His pluck and chutzpah shine through.
    • 74 Metascore
    • 83 Owen Gleiberman
    How is Invictus as a sports movie? Let's just say that its lump-in-the-throat climax is predictable, but that doesn't mean it's less than earned.
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 83 Owen Gleiberman
    The joy of cartoons meets the agony of office politics in this fascinating, inside- Hollywood-baseball documentary.
    • 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.
    • 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.
    • 47 Metascore
    • 83 Owen Gleiberman
    The whole movie is a diversionary activity. It's trash so compacted it glows.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 69 Metascore
    • 83 Owen Gleiberman
    Fair Game gets you riled up all over again at a deeply unpatriotic abuse of power.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 83 Owen Gleiberman
    High-octane trash, but you will go "Ohhhhhh!"
    • 57 Metascore
    • 83 Owen Gleiberman
    So scrupulously researched and argued that only a fool would ignore its findings.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 72 Metascore
    • 83 Owen Gleiberman
    Bellflower is stylishly watchable - even when it's preposterous.
    • 74 Metascore
    • 83 Owen Gleiberman
    Higher Ground breaks crucial, sacred ground in American moviemaking.
    • 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."
    • 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.
    • 73 Metascore
    • 83 Owen Gleiberman
    A tangy raw stew of history, even if it never begins to confront the contradictions that bedeviled black militancy.
    • 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.
    • 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.
    • 71 Metascore
    • 83 Owen Gleiberman
    For a documentary that's almost engineered to lift your heart, Undefeated is very well done.
    • 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.
    • 46 Metascore
    • 83 Owen Gleiberman
    The movie is like a less original "WALL•E," but it's still vibrant and touching.
    • 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!''
    • 74 Metascore
    • 83 Owen Gleiberman
    As long as the MPAA is issuing its cavalier decrees, though, they're the ones acting like bullies.
    • 62 Metascore
    • 83 Owen Gleiberman
    A lively, original, and scattershot-hilarious ramble of a Judd Apatow production.
    • 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.''
    • 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.
    • 55 Metascore
    • 83 Owen Gleiberman
    Depp's performance is more than just funny - it's ghoulishly endearing.
    • 35 Metascore
    • 83 Owen Gleiberman
    The best thing about the movie is that it keeps drawing conclusions in opposite directions.
    • 60 Metascore
    • 83 Owen Gleiberman
    The story in Madagascar 3 is functional, but the antically civilized spirit is infectious.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 83 Owen Gleiberman
    Robot & Frank is sentimental high-concept fluff that works.
    • 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.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 83 Owen Gleiberman
    It's a perfect summation of why he was the ultimate filmmaker.
    • 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.
    • 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.
    • 67 Metascore
    • 83 Owen Gleiberman
    Highlights Gaskin's down-home gumption as an advocate for the glory of natural childbirth.
    • 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 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.
    • 76 Metascore
    • 83 Owen Gleiberman
    The movie is playful and makes no easy moral judgments.
    • 61 Metascore
    • 83 Owen Gleiberman
    The Jeffrey Dahmer Files is for hardcore Dahmer obsessives only.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 71 Metascore
    • 83 Owen Gleiberman
    The actors all blend terrifically, making this the film equivalent of great hang time.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 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.
    • 70 Metascore
    • 83 Owen Gleiberman
    The creators of Captain America: The Winter ­Soldier have brought off something fresh and bold.
    • 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.
    • 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.
    • 49 Metascore
    • 75 Owen Gleiberman
    Plays like an unusually ritzy festival circuit audition film, though McQuarrie, it must be said, aces the audition.
    • 51 Metascore
    • 75 Owen Gleiberman
    A little of this sort of thing goes a long way, but no one does it better than Myers.
    • 50 Metascore
    • 75 Owen Gleiberman
    If nothing else, Shaft is spicy fast food.
    • 65 Metascore
    • 75 Owen Gleiberman
    Ali
    For everything it gets right, Ali, following its superb first hour, begins to lose the vision, clarity, and structure necessary to bring its hero into full focus.
    • 75 Metascore
    • 75 Owen Gleiberman
    This trio is like a looser, funnier version of the family of wrecks in Woody Allen's ''Interiors.''
    • 54 Metascore
    • 75 Owen Gleiberman
    What's infectious about Groove is the friendly, almost innocent way that its brat pack of digital-age bohemians seek liberation in a world where there is nothing left to rebel against.
    • 52 Metascore
    • 75 Owen Gleiberman
    The film's cumulative effect is as exhausting as it is exciting.
    • 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.
    • 52 Metascore
    • 75 Owen Gleiberman
    Carries little in the way of passion or revelatory charge.
    • 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.''
    • 55 Metascore
    • 75 Owen Gleiberman
    Modest and prosaic, with an unfortunate fairy-tale ending (yes, it features Tom Jones).
    • 32 Metascore
    • 75 Owen Gleiberman
    The movie, while heartfelt and vividly shot, takes too many rote genre turns.
    • 68 Metascore
    • 75 Owen Gleiberman
    Roth, there's no denying, creates considerable suspense out of our desire to confront the forbidden.
    • 55 Metascore
    • 75 Owen Gleiberman
    The murder as entertainment premise of Series 7 is proof that even the blackest of humor is no longer particularly outrageous.
    • 47 Metascore
    • 75 Owen Gleiberman
    Gibson, in a disarmingly nimble, fast break performance, makes Nick's new hyperempathy look like the essence of virile panache.
    • 52 Metascore
    • 75 Owen Gleiberman
    Showcases a trio of terrific performances.
    • 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.
    • 47 Metascore
    • 75 Owen Gleiberman
    A highly calculated act of mischief that sounds like a stunt cooked up for Howard Stern's radio show.
    • 37 Metascore
    • 75 Owen Gleiberman
    Does all it can not to dehumanize Chong.
    • 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.
    • 60 Metascore
    • 75 Owen Gleiberman
    Jonathan Nossiter's second feature (after the intricate and haunting ''Sunday'') strikes unnerving chords of mystery and dismay as it fuses the sinister, jump cut dislocations of a metaphysical thriller like ''Don't Look Now'' with a pain soaked meditation on love, guilt, marriage, and adultery.
    • 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.
    • 41 Metascore
    • 75 Owen Gleiberman
    Nothing more than a sort of dumb, sort of clever fish out of water comedy.
    • 70 Metascore
    • 75 Owen Gleiberman
    The film's crank-case snappishness doesn't break any molds, but it certainly gives you a lift.
    • 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.
    • 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.
    • 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.
    • 32 Metascore
    • 75 Owen Gleiberman
    A good movie? Hardly. But more than enough to pass a dog day afternoon.
    • 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.
    • 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.
    • 65 Metascore
    • 75 Owen Gleiberman
    This homicide thriller has a tantalizingly morbid atmosphere of unease.
    • 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.
    • 67 Metascore
    • 75 Owen Gleiberman
    There's nothing corny, however, about the climactic shoot-out, which Costner has staged superbly as an extended logistical mini-war that surges and rifle-cracks with bloody abandon through what feels like every building in town. Call it dances with guns.
    • 36 Metascore
    • 75 Owen Gleiberman
    As stagy and awkward as some of the Warhol/Morrissey films of the early '70s.
    • 88 Metascore
    • 75 Owen Gleiberman
    What it comes down to is superbly staged battle scenes and moral alliances forged in earnest yet purged of the wit and dynamic, bristly ego that define true on-screen personality.
    • 59 Metascore
    • 75 Owen Gleiberman
    Confidence may be mannered at times, but its shell-game plot is alive with organic trickery.
    • 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.
    • 91 Metascore
    • 75 Owen Gleiberman
    A crowd-pleaser, all right, but, for all its appeal, a naggingly sanctimonious one.
    • 57 Metascore
    • 75 Owen Gleiberman
    Too tightly made not to keep you watching, Holy Smoke is also too hokey and didactic to take seriously.
    • 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.)
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 75 Owen Gleiberman
    A modest vérité portrait of Wilco, the engagingly melodious, deeply unglam alt-folk rockers.
    • 63 Metascore
    • 75 Owen Gleiberman
    Younger, in his debut feature, is as canny as he is derivative.
    • 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.
    • 50 Metascore
    • 75 Owen Gleiberman
    The movie is also brisk and wholehearted and smarter than you expect.
    • 59 Metascore
    • 75 Owen Gleiberman
    As a character, Austin Powers hasn't worn out his welcome, exactly, but he has outlived his novelty.
    • 36 Metascore
    • 75 Owen Gleiberman
    A blatant re-spin of ''The Fast and the Furious'' that also happens to be a far better movie.
    • 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.
    • 50 Metascore
    • 75 Owen Gleiberman
    Moves along with a quietude, a scruffy direct plainness that has long gone out of style.
    • 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.
    • 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.
    • 71 Metascore
    • 75 Owen Gleiberman
    It's Alan Cumming who takes over the movie as the impish mastermind Fegan Floop.
    • 76 Metascore
    • 75 Owen Gleiberman
    The film's charm ends up worn out by the very perfection of Frank's con. We look at this teen wizard of rotating identity, and we realize we know everything about him except who he is.
    • 52 Metascore
    • 75 Owen Gleiberman
    Charlie's Angels is finally Cameron Diaz's movie. Her Natalie has a heart as insecure as her body is smokin'.
    • 51 Metascore
    • 75 Owen Gleiberman
    A hit-or-miss affair that starts out wobbly and then gathers comic momentum.
    • 52 Metascore
    • 75 Owen Gleiberman
    Could have used more of the shimmering elegance of the Day-Hudson comedies. Those movies had a true sparkle. This one's a likable piece of costume jewelry.
    • 46 Metascore
    • 75 Owen Gleiberman
    Bullock gives it her all; she's bristling and alive on screen in a way that she hasn't been since ''Speed.''
    • 55 Metascore
    • 75 Owen Gleiberman
    What holds the movie together, however, is Gibson's broodingly responsive performance.
    • 69 Metascore
    • 75 Owen Gleiberman
    Barton Fink has an atmosphere of languid comic anxiety (it's like a cross between "Eraserhead" and "Angel Heart"), and it's fun to watch, if only because you have no idea what's coming next.
    • 87 Metascore
    • 75 Owen Gleiberman
    Lusts for catharsis yet never quite gets there, because, for all of its bitter romantic anguish, it ultimately coalesces in your head rather than your heart.
    • 70 Metascore
    • 75 Owen Gleiberman
    Stuffed--indeed, overstuffed--with heart, soul, audacity, and blarney. You may not believe a minute of it, but you don't necessarily want to stop watching.
    • 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.
    • 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.
    • 58 Metascore
    • 75 Owen Gleiberman
    A lively, disposable hybrid of the sincere and the synthetic.
    • 41 Metascore
    • 75 Owen Gleiberman
    A twisty, showy, atmosphere-saturated drama that revels (in a post-post-Tarantino-and-''Trainspotting'' way) in sadism and in-your-face seediness -- and attracts a cast of coolios primed to play extreme.
    • 41 Metascore
    • 75 Owen Gleiberman
    Spun is accomplished, but it's also numbing. It's hard to have much connection to people who never connect with each other.
    • 72 Metascore
    • 75 Owen Gleiberman
    Pi
    The movie's freakazoid intensity gets to you, but there's something at once cramped and show-offy in Aronofsky's refusal to even slighty vary its atmosphere of shock-corridor burnout.
    • 60 Metascore
    • 75 Owen Gleiberman
    A canny, derivative, wildly gruesome portrait of a London sociopath who's the scariest of sadists, in part because he's also a very courtly one.
    • 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.
    • 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.
    • 45 Metascore
    • 75 Owen Gleiberman
    Moore makes Halley's awakening organic and touching. In an age when most teenagers are up to their eyeballs in postmodern consumer glitz, her movies seem radical not just in their retro squareness but in their unfashionable embrace of faith over ironic flippancy.
    • 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.
    • 73 Metascore
    • 75 Owen Gleiberman
    A canny franchise escapade; it gets the job done. But it also leaves you hungry for something more, and I don't necessarily mean the next episode.
    • 42 Metascore
    • 75 Owen Gleiberman
    Provokes a suspense halfway between comedy and horror. I'm not sure if I enjoyed myself, exactly, but I could hardly wait to see what I'd be appalled by next.
    • 67 Metascore
    • 75 Owen Gleiberman
    Lin works with a rhythmic observational flair that outweighs the movie's flaws. It's a long way from Long Duk Dong.
    • 57 Metascore
    • 75 Owen Gleiberman
    It's ''The Matrix'' meets ''TRON'' meets ''Jimmy Neutron,'' with all the cheery (if not cheesy) evanescence of a Jolly Rancher commercial. I mean that as a compliment.
    • 65 Metascore
    • 75 Owen Gleiberman
    The atmosphere of gentle communal chaos is authentic enough to become the movie's dramatic center.
    • 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.
    • 74 Metascore
    • 75 Owen Gleiberman
    The gimmicks, in the end, are too arbitrary to tie together in a memorably haunting fashion, though they do culminate in a Big Twist, a nifty one that almost -- but not quite -- makes you want to see the movie again.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 75 Owen Gleiberman
    The camera loves Banderas -- a velvet stud -- as much as it did the young Clint Eastwood.
    • 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.
    • 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.
    • 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.
    • 76 Metascore
    • 75 Owen Gleiberman
    Has moments of biting tenderness, yet the movie made me wish that Sheridan had let in more of America.
    • 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.
    • 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.
    • 74 Metascore
    • 75 Owen Gleiberman
    In Monster Theron undergoes one of the most startling transformations in the history of movies.
    • 64 Metascore
    • 75 Owen Gleiberman
    A bright, whirling pinwheel of a movie that tosses around special effects like confetti, but the techno magic is graced with a touch of sensuality.
    • 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.
    • 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.
    • 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.
    • 32 Metascore
    • 75 Owen Gleiberman
    A bit of a tease itself. The movie keeps threatening to become amateur porn, like a risqué ''Candid Camera'' gone ''Dirty Debutantes,'' but it never quite gets there.
    • 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.
    • 52 Metascore
    • 75 Owen Gleiberman
    A tricky-bordering-on-gimmicky film noir with a glaze of soft-core kink.
    • 72 Metascore
    • 75 Owen Gleiberman
    Directed by Guillermo del Toro with a colorfully kinetic visual imagination that seldom lets up.
    • 78 Metascore
    • 75 Owen Gleiberman
    Son Frère is hushed, clinical, grimly paced, and moving.
    • 71 Metascore
    • 75 Owen Gleiberman
    In Superstar in a Housedress, Curtis remains frozen in his flamboyance. The most resonant parts of the movie are, oddly, the interviews with his fellow glam bohemians.
    • 71 Metascore
    • 75 Owen Gleiberman
    Lays on the compassion a little thick, yet its heartfelt squalor stays with you.
    • 75 Metascore
    • 75 Owen Gleiberman
    The movie, quite simply, goes to sleep whenever Zatoichi isn't fighting. When he is, it's a pulp dazzler.
    • 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.
    • 53 Metascore
    • 75 Owen Gleiberman
    The film is a sobering chronicle of the depressing circus of persecution and pseudo-scandal that was the Clinton years. But why did the President provoke such ire? A movie with insight into that might actually feel new.
    • 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.
    • 78 Metascore
    • 75 Owen Gleiberman
    Writer-director Paul Thomas Anderson crafts a plot of manipulation and chance, in which some zigs and zags are more convincing than others. Still, his feel for scuzz, for people living at the raw extremes of appetite, is palpable.
    • 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.
    • 59 Metascore
    • 75 Owen Gleiberman
    Nothing more than amiable fluff, yet Bettany infuses it with a brazen dash of reality. You believe in him, even when you don't quite believe in the movie.
    • 38 Metascore
    • 75 Owen Gleiberman
    Fire, as this movie makes clear, is nothing if not photogenic, and Howard has done a beautiful job of conjuring both its danger and its deceptive, primal beauty.
    • 60 Metascore
    • 75 Owen Gleiberman
    Embarrassingly entertaining.
    • 64 Metascore
    • 75 Owen Gleiberman
    I was amused more or less throughout by the ingeniously designed and executed stunt that is Team America.
    • 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.
    • 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.
    • 60 Metascore
    • 75 Owen Gleiberman
    I do wish that Overnight caught in more precise detail what Duffy, who finally made his film on the cheap at an obscure studio, did to tick off the Miramax powers. Imagining it, though, is half the fun.
    • 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.
    • 75 Metascore
    • 75 Owen Gleiberman
    Slow going, but I mean it as no insult when I say that it bored me, in the end, to tears.
    • 68 Metascore
    • 75 Owen Gleiberman
    Jim Carrey entertains himself mightily in Liar Liar, and his enthusiasm is infectious.
    • 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.
    • 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.
    • 55 Metascore
    • 75 Owen Gleiberman
    Slick, reasonably amusing, never asking its audience to swallow anything too wild for consumption.
    • 41 Metascore
    • 75 Owen Gleiberman
    Lands on an imaginative fault line somewhere between tackiness and awe.
    • 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.
    • 56 Metascore
    • 75 Owen Gleiberman
    Costner's surfer-bum affectlessness works here; he turns the Mariner into the world's most jaded lifeguard.
    • 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.
    • 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.
    • 76 Metascore
    • 75 Owen Gleiberman
    What lights Cinèvardaphoto is Varda's ageless ability to merge her spirit with that of the images she shows us.
    • 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.