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 Far From Heaven
Lowest review score: 0 Crime and Punishment in Suburbia
Score distribution:
2,348 movie reviews
    • 72 Metascore
    • 25 Owen Gleiberman
    Antal has assembled what may be the single most colorless group of mangy lowlifes I have ever seen.
    • 70 Metascore
    • 25 Owen Gleiberman
    Isn't up to much of anything besides pretending that swearwords and snot-nosed insults, served up by Santa with an almost institutional monotony, aren't just naughty. They're -- big joke! -- incorrect.
    • 69 Metascore
    • 25 Owen Gleiberman
    A few more films like Tears of the Black Tiger, and kitsch will be on its way to having a bad name.
    • 69 Metascore
    • 0 Owen Gleiberman
    Why would filmmakers with this much talent work this hard to thumb their noses at everything they put on screen?
    • 67 Metascore
    • 33 Owen Gleiberman
    I gave up making heads or tails of Synecdoche, New York, but I did get one message: The compulsion to stand outside of one's life and observe it to THIS degree isn't the mechanism of art -- it's the structure of psychosis.
    • 67 Metascore
    • 25 Owen Gleiberman
    A glumly serious British mock rock doc: You could forgive the paucity of jokes if Brothers of the Head had anything to say, or if the '70s-vérité surface were remotely convincing.
    • 66 Metascore
    • 25 Owen Gleiberman
    Watching Pecker, his rickety new comedy about a teenage Baltimore shutterbug, it becomes clear that Waters has grown color-blind to his own sleazo-shock aesthetic.
    • 66 Metascore
    • 25 Owen Gleiberman
    It's one of those stultifying aftermath-of-
a-car-crash movies.
    • 65 Metascore
    • 33 Owen Gleiberman
    A brutally monotonous thriller.
    • 65 Metascore
    • 25 Owen Gleiberman
    You'd think that the film would ask you to be appalled at this scenario of forced servitude -- but no, it's treated as harmless and cute, like an Israeli ''Chico and the Man.''
    • 64 Metascore
    • 16 Owen Gleiberman
    It has that vintage Polish pace, their signature arch pomposity and rhythmless weirdness, only this time the brothers had to go and make a cosmic allegory of American dreams.
    • 64 Metascore
    • 25 Owen Gleiberman
    Inert dud of a hitmen-are-people-too comedy.
    • 62 Metascore
    • 16 Owen Gleiberman
    The result is a dead pile of information in search of a movie.
    • 62 Metascore
    • 33 Owen Gleiberman
    Since there is a mystery, the movie might have been entertaining camp had director Taylor Hackford staged it with pace, style, or a whisper of surprise. Instead, the plot just clunks forward-for two hours and 10 minutes.
    • 62 Metascore
    • 25 Owen Gleiberman
    The wedding, which turns the very concept of ''Greek'' into the sort of hideous, pandering clichés that look rejected from bad Jewish and Italian sitcoms.
    • 61 Metascore
    • 25 Owen Gleiberman
    Whenever an actress takes on a gritty working-class role, the audience does a gut check of authenticity. Either the actress gets it, like Melissa Leo did in "Frozen River," or she doesn't, like Michelle Monaghan as the spoilin'-for-a-fight truck-driver heroine of the inert indie dud Trucker
    • 61 Metascore
    • 33 Owen Gleiberman
    I love a good mind-bender, but it's getting more common these days to see thrillers that don't so much bend your mind as chop it, smash it, and place it in the Cuisinart. Trance, the new film directed by Danny Boyle is a high-brainiac art-world thriller that wants to do nothing more (or less) than give your head a majorly pleasurable spin.
    • 59 Metascore
    • 0 Owen Gleiberman
    If you look hard, you can make out a story in Femme Fatale, but it has nothing to do with the senseless pileup of jewel thievery, shutterbug voyeurism, and leggy sex bombs so shallow and bad they seem to have come out of a 1978 copy of Hustler magazine.
    • 58 Metascore
    • 0 Owen Gleiberman
    A fractious fiasco: whiplash camera movement set to raging blasts of death metal, a story so incoherent it made me wish I was watching, instead, the collected outtakes from Van Helsing.
    • 58 Metascore
    • 25 Owen Gleiberman
    The movie lacks even the misplaced fervor of obsession. It's lifeless kitsch.
    • 57 Metascore
    • 25 Owen Gleiberman
    I wish I could say that the film is half as intriguing as it sounds, but A Woman, a Gun... lacks the Coen brothers' precision, their diabolical game-board cleverness. It's a remake in shaggy outline only.
    • 57 Metascore
    • 33 Owen Gleiberman
    Most of this just seems, you know, so three years ago, so "Bourne" again.
    • 57 Metascore
    • 0 Owen Gleiberman
    Parts of the film play like the world's slowest and most insensitive reality show (Who Wants to Be an Octogenarian?).
    • 56 Metascore
    • 25 Owen Gleiberman
    So badly told that it ends up dissecting a corruption that exudes from nowhere but itself.
    • 56 Metascore
    • 0 Owen Gleiberman
    In every way dreadful.
    • 55 Metascore
    • 33 Owen Gleiberman
    Back to the Future Part III has that same sort of studio back-lot clunkiness. Only this time it's the audience that gets conked — by the sheer desperation of the whole enterprise.
    • 55 Metascore
    • 33 Owen Gleiberman
    The film is proof that if you repackage the classics (in this case, Dickens) for the youth market in an era of MTV dislocation, what you get, in essence, is postmodern Cliffs Notes with an alt-rock soundtrack.
    • 55 Metascore
    • 33 Owen Gleiberman
    Antonio Banderas is a charming and talented man, but in Take the Lead he lays on the old-world panache so thick - the accent, the flowery courtliness, the romance of romance - that he comes off like Dracula's metrosexual cousin.
    • 54 Metascore
    • 0 Owen Gleiberman
    A magical-realist sitcom war farce that ends up being about nothing but its own slovenly smugness.
    • 53 Metascore
    • 25 Owen Gleiberman
    None of the faux icons comes close to being a character. Instead, they are contrasted with a group of nuns who skydive without parachutes. Could this possibly be a metaphor for Korine's filmmaking? It certainly goes splat.
    • 53 Metascore
    • 25 Owen Gleiberman
    You can expect a lot of shredding and gurgling. 30 Days of Night is relentless, but it's also relentlessly one-note.
    • 53 Metascore
    • 16 Owen Gleiberman
    Nothing in Imaginary Heroes rings true, least of all a plot that lightly combines domestic abuse, adulterous pregnancy, teen bisexuality, job abandonment, and a possible case of Mysterious Movie Disease. These are not ordinary people. Or real ones.
    • 53 Metascore
    • 25 Owen Gleiberman
    Has a topsy-turvy sense of injustice.
    • 53 Metascore
    • 25 Owen Gleiberman
    A ponderous dystopian bummer that might be described as "The Road Warrior" without car chases, or "The Road" without humanity.
    • 52 Metascore
    • 33 Owen Gleiberman
    For all of De Palma's studious multimedia trickery -- a valid, even inspired idea -- Redacted is so naive it's an embarrassment.
    • 52 Metascore
    • 25 Owen Gleiberman
    The only performer I enjoyed watching was Martin Short, who plays a bitch dandy music teacher with a smile so fake that the comedian seems to be acting with his gums.
    • 52 Metascore
    • 0 Owen Gleiberman
    Fragmentation can be an artful method; it can also be the last refuge for someone who scarcely knows how to make a film. In the no-budget fantasia Wild Tigers I Have Known, the fragments are like a borrowed collage of gay coming-of-age tropes.
    • 52 Metascore
    • 25 Owen Gleiberman
    In a season of digital bombast, it can be a relief to walk into a stodgy life-of-the-great-man costume drama. Goya's Ghosts, before it turns into a messy, horse-drawn load, achieves a civilized stuffiness that gives off its own mild pleasure.
    • 52 Metascore
    • 33 Owen Gleiberman
    You can see what the film was going for, but the jokes just sit there; you chuckle a few times, mostly out of lame hope, but you never bust a gut, never really get what you came for.
    • 52 Metascore
    • 25 Owen Gleiberman
    Has Brian De Palma finally lost his mind? Ever since "Carrie" (1976), his one true masterpiece, this director has evolved into a cinematic serial killer of common sense.
    • 51 Metascore
    • 25 Owen Gleiberman
    Starts out as a neo-Pygmalion comedy, but the film is slow, earnest, and rhythmless.
    • 51 Metascore
    • 25 Owen Gleiberman
    Nothing in John Carter really works, since everything in the movie has been done so many times before, and so much better.
    • 51 Metascore
    • 33 Owen Gleiberman
    The movie wants to be deadly cool, but mostly it's just deadly.
    • 51 Metascore
    • 0 Owen Gleiberman
    Stupefyingly tedious and annoying.
    • 50 Metascore
    • 25 Owen Gleiberman
    Anderson has made a zombie movie without the zombies.
    • 50 Metascore
    • 25 Owen Gleiberman
    The most irritating thing about Hoffa is that even after you've sat through Danny DeVito's turgid, meaninglessly sprawling account of the Teamster boss' rise and fall, you still won't have any idea who Jimmy Hoffa was.
    • 50 Metascore
    • 0 Owen Gleiberman
    Top-heavy with whimsy, so muddled it makes Mission: Impossible look like a model of narrative cohesion, The Saint is the apo-theosis of the new incoherence, with the cliches of espionage and action thrillers jammed together like bumper cars.
    • 50 Metascore
    • 25 Owen Gleiberman
    Isn't it time Steve Zahn grew up? Ever since the '90s, this walking quirk of an actor has pushed his dazed solipsistic zaniness (he's like Michael J. Fox’s hillbilly cousin), but he's 41 now, and it no longer looks cute on him.
    • 50 Metascore
    • 16 Owen Gleiberman
    Shainberg reduces this most disturbing of all photographers to a portraitist of Halloween.
    • 50 Metascore
    • 0 Owen Gleiberman
    There's something uniquely embarrassing about a rock & roll fable that is no more authentic (and no less coy) than an episode of ''The Monkees'' yet insists on presenting itself as the epitome of rebel-yell cool.
    • 49 Metascore
    • 25 Owen Gleiberman
    It's like a film-school thesis gone disastrously wrong.
    • 49 Metascore
    • 25 Owen Gleiberman
    It's like "Schindler's List" crossed with "The Sound of Music," and Roger Spottiswoode directs it in a stiff, lifeless, utterly dated style of international squareness.
    • 48 Metascore
    • 16 Owen Gleiberman
    Angel-A shows how director Luc Besson can be French in a way that even the French might despise...Quel ick. And très tedious.
    • 48 Metascore
    • 25 Owen Gleiberman
    Simon Pegg has what it takes, but he's saddled himself with a script (co-written by Pegg and Michael Ian Black) that Adam Sandler wouldn't have pulled out of his bottom drawer.
    • 48 Metascore
    • 25 Owen Gleiberman
    It's no insult to Melville to say that he wrote, in effect, the original ''Dilbert.'' This movie, unfortunately, makes ''Dilbert'' look like Melville.
    • 48 Metascore
    • 16 Owen Gleiberman
    Serves up the sort of shrill ''satire'' of middle-class Jewish vulgarity in which the mere mention of words like ''brisket'' and ''klezmer'' is automatically presumed to be hilarious.
    • 48 Metascore
    • 0 Owen Gleiberman
    Mr. Magorium, who is 243 years old (so are his jokes), is a cross between Willy Wonka and Geppetto, but Hoffman plays him with little more than a goofy dumb lisp, achieved by tucking his lower lip under his upper teeth, so that he looks just as rabbity-stoopid as he sounds.
    • 48 Metascore
    • 0 Owen Gleiberman
    Is there anything more dull than an ineptly cynical fairy tale?
    • 47 Metascore
    • 25 Owen Gleiberman
    Critics tend to fawn over the Japanese director-star Takeshi Kitano (a.k.a. Beat Takeshi), but am I the only one who finds his films impossible to make heads or tails of?
    • 47 Metascore
    • 25 Owen Gleiberman
    A convoluted ''dweeb meets the Mob'' farce in which everyone is trying to kill everyone else, but it's the movie that's the real corpse -- albeit a busy, twitching one.
    • 47 Metascore
    • 33 Owen Gleiberman
    This one is just murk.
    • 47 Metascore
    • 0 Owen Gleiberman
    Combines hugs and ''pain'' and dialogue so fakey-cute it makes your ears hurt.
    • 47 Metascore
    • 25 Owen Gleiberman
    Silver City may be the mustiest political-conspiracy tale ever filmed; it's like "Chinatown" rewritten by Ralph Nader.
    • 46 Metascore
    • 0 Owen Gleiberman
    Ryan radiates neither desire nor terror. She's freeze-dried in a world of lifelessly abstract feminine fear, and so is the movie.
    • 46 Metascore
    • 33 Owen Gleiberman
    The movie is MTV Kafka: Instead of dialogue, character, behavior, it has a look and a mood. And that's all it has.
    • 46 Metascore
    • 0 Owen Gleiberman
    Manderlay is turgid and hollow.
    • 46 Metascore
    • 25 Owen Gleiberman
    It's a dismal mess...What's most grating about Hackers, however, is the guileless way the movie buys in to the computer-kid-as-elite-rebel mystique currently being peddled by magazines like Wired.
    • 46 Metascore
    • 25 Owen Gleiberman
    A witch comedy so slapdash, plodding, and muddled it seems to have had a hex put on it.
    • 46 Metascore
    • 25 Owen Gleiberman
    Don't let the Carl Hiaasen pedigree fool you: Hoot is an Afterschool Special too crummy to give a hoot about.
    • 46 Metascore
    • 25 Owen Gleiberman
    The film completely misses what should have been its real target -- the filming of Game of Death, a martial-arts campfest worthy of Edward D. Wood Jr.
    • 46 Metascore
    • 33 Owen Gleiberman
    CJ7
    Trivial and charmless.
    • 46 Metascore
    • 33 Owen Gleiberman
    How lame have high-concept, no-brain comedies gotten?
    • 45 Metascore
    • 25 Owen Gleiberman
    A cheaply made piece of ''psychological'' occult schlock, subjects you to that depressing stop-and-go rhythm that defines inept fantasy thrillers.
    • 45 Metascore
    • 25 Owen Gleiberman
    Atrociously scripted and edited.
    • 45 Metascore
    • 25 Owen Gleiberman
    Would like to be a Halloween treat, but it's more like a nightmare of blandness.
    • 45 Metascore
    • 33 Owen Gleiberman
    I Love You to Death is strenuously unclever.
    • 45 Metascore
    • 33 Owen Gleiberman
    If Crowe's eyes are open, he seems to have directed most of Vanilla Sky with his mind wide shut.
    • 44 Metascore
    • 33 Owen Gleiberman
    Even the film's one "original" twist is just a desperate attempt to link it up to Ghost Rider, the only lousy Nicolas Cage action film that is actually spawning a sequel.
    • 44 Metascore
    • 25 Owen Gleiberman
    Last Action Hero makes such a strenuous show of winking at the audience (and itself) that it seems to be celebrating nothing so much as its own awfulness. In a sense, the movie's incipient commercial failure completes it aesthetically.
    • 44 Metascore
    • 0 Owen Gleiberman
    The film isn't just bad; it's a barely coherent, inert mess -- a heart-tugger for voidoids.
    • 44 Metascore
    • 25 Owen Gleiberman
    It all makes you want to see a Bollywood movie, all right -- a good one.
    • 44 Metascore
    • 0 Owen Gleiberman
    The Libertine is such a torturous mess that it winds up doing something I hadn't thought possible: It renders Johnny Depp charmless.
    • 43 Metascore
    • 0 Owen Gleiberman
    As an actor, Raymond is whiny and annoying, but not nearly so much as the film.
    • 43 Metascore
    • 0 Owen Gleiberman
    The movie is one soporific, depressed, deadeningly vague scene after another.
    • 43 Metascore
    • 25 Owen Gleiberman
    The title, Machine Gun Preacher, makes it sound like a piece of grindhouse kitsch - and by the time it's over, you'll be thinking, ''If only!''
    • 42 Metascore
    • 0 Owen Gleiberman
    The movie has no wit, no charm, no cleverness, no traction. Simply put, it is no fun.
    • 42 Metascore
    • 16 Owen Gleiberman
    The gimmick in The Abandoned is that people battle their zombie doubles, whom they can't kill, since they'd be killing themselves. But the movie sinks so deep into deathly atmosphere that there's no life to it.
    • 42 Metascore
    • 25 Owen Gleiberman
    It barely boasts enough funny material to fill four minutes.
    • 42 Metascore
    • 33 Owen Gleiberman
    Orphan isn't scary -- it's garish and plodding.
    • 42 Metascore
    • 0 Owen Gleiberman
    This remake is merely vile (and dull).
    • 42 Metascore
    • 0 Owen Gleiberman
    A movie so unhinged it practically dares you not to hate it.
    • 41 Metascore
    • 33 Owen Gleiberman
    If you want to know how inept the movie is...well, it's so inept that you may wish you were watching an M. Night Shyamalan version of the very same premise.
    • 41 Metascore
    • 25 Owen Gleiberman
    While George Lopez, Cheech Marin, and Paul Rodriguez are funny men, it's amazing how boring these Latin-shtick cutups can be when none of them gets a single good line.
    • 41 Metascore
    • 33 Owen Gleiberman
    Has all the mood enhancing flavor of a tropical cocktail made with watered down rum and fake fruit juice.
    • 41 Metascore
    • 33 Owen Gleiberman
    The movie is a true folly, yet there's no denying that Gilliam has gotten some of the hallucinogenic madness of Thompson's novel on screen.
    • 41 Metascore
    • 25 Owen Gleiberman
    Hop
    It's "Alvin and the Chipmunks" with only one chipmunk, and (if possible) even less fun.
    • 40 Metascore
    • 0 Owen Gleiberman
    It's like a pastry that's been sitting on the shelf for 60 years.
    • 40 Metascore
    • 0 Owen Gleiberman
    A soporific dud, which should have been tossed out of Sundance.
    • 40 Metascore
    • 16 Owen Gleiberman
    Stops time, all right -- it stretches 94 minutes into something that begins to feel like infinity.
    • 40 Metascore
    • 0 Owen Gleiberman
    An inept low-budget thriller.

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