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 Super Size Me
Lowest review score: 0 Manderlay
Score distribution:
2,346 movie reviews
    • 100 Metascore
    • 100 Owen Gleiberman
    The Wizard of Oz remains the weirdest, scariest, kookiest, most haunting and indelible kid-flick-that's-really-for-adults ever made in Hollywood.
    • 98 Metascore
    • 100 Owen Gleiberman
    Hoop Dreams is an astonishing emotional experience — it has highs, lows, and everything in between.
    • 97 Metascore
    • 100 Owen Gleiberman
    It becomes as savage as ''Reservoir Dogs,'' ''The Killing,'' or any of the other dozens of films over which it still casts a shadow.
    • 97 Metascore
    • 100 Owen Gleiberman
    It's Ejiofor's extraordinary performance that holds 12 Years a Slave together.
    • 96 Metascore
    • 75 Owen Gleiberman
    Ratatouille is a blithe concoction, as well as a miraculously textured piece of animated design.
    • 96 Metascore
    • 100 Owen Gleiberman
    They're like gods at play, paragons of pure delight, as they mock and feign their way through a universe of mere mortals. To see the movie again is to realize that they were never entirely of this earth and that they never will be.
    • 96 Metascore
    • 100 Owen Gleiberman
    The miracle of the movie is the way that director Alfonso Cuarón, using special effects and 3-D with a nearly poetic simplicity and command, places the audience right up there in space along with them.
    • 95 Metascore
    • 100 Owen Gleiberman
    The power of The Social Network is that Zuckerberg is a weasel with a mission that can never be dismissed. The movie suggests that he may have built his ambivalence about human connection into Facebook's very DNA. That's what makes him a jerk-hero for our time.
    • 95 Metascore
    • 100 Owen Gleiberman
    Once in a long while, a fresh-from-the-headlines movie - like "All the President's Men" or "United 93" - fuses journalism, procedural high drama, and the oxygenated atmosphere of a thriller into a new version of history written with lightning. Zero Dark Thirty, Kathryn Bigelow's meticulous and electrifying re-creation of the hunt for Osama bin Laden, is that kind of movie.
    • 95 Metascore
    • 100 Owen Gleiberman
    Farhadi is no mere formalist. His film is a spiritual investigation into the rise of women and the descent of male privilege in Iran, and a look at the toll that has taken. In a movie of flawless acting, it is Moadi - terse, proud, angry, haunted - who shows us that rare thing: a soul in transition.
    • 94 Metascore
    • 100 Owen Gleiberman
    Before Midnight confounds expectations in powerful and even haunting ways. It's not just darker than the previous two films. It's bigger, deeper, and more searching. It follows the characters through a tale of embattled love that extends far beyond them.
    • 94 Metascore
    • 100 Owen Gleiberman
    In E.T., Spielberg proved a herald of the age when moviegoers would make full-time friends with fantasy, but his most special effect was taking us into ourselves.
    • 94 Metascore
    • 100 Owen Gleiberman
    It whisks you to another world, then makes it every inch our own.
    • 94 Metascore
    • 91 Owen Gleiberman
    Nearly four decades ago, Pontecorvo anatomized the very form of modern terrorist warfare: the hidden cells, the cultish leaders, the brutish cycle of attack and counterattack.
    • 94 Metascore
    • 83 Owen Gleiberman
    A rivetingly journalistic account of a scoundrel's rise and fall.
    • 94 Metascore
    • 100 Owen Gleiberman
    In Amour, these two actors show us what love is, what it really looks like, and what it may, at its most secret moments, demand.
    • 93 Metascore
    • 67 Owen Gleiberman
    It seems pompous and scattershot now -- a tweaking of privileged European smugness that unfolds with a playful daisy-chain logic but has the tone of a quaint, doddering lecture.
    • 93 Metascore
    • 100 Owen Gleiberman
    Spielberg restages the Holocaust with an existential vividness unprecedented in any nondocumentary film: He makes us feel as if we're living right inside the 20th century's darkest-and most defining-episode.
    • 93 Metascore
    • 100 Owen Gleiberman
    Extraordinary new documentary that turns Robert Crumb's twisted life story into a disturbing, exhilarating work of biographical art.
    • 92 Metascore
    • 91 Owen Gleiberman
    With Inside Llewyn Davis, they've made a film that is almost spooky in its perversity: a lovingly lived-in, detailed tribute to the folk scene that — hauntingly — has shut their hero out.
    • 92 Metascore
    • 100 Owen Gleiberman
    The first animated feature produced entirely on computer is a magically witty and humane entertainment, a hellzapoppin fairy tale about a roomful of suburban toys who come to life when humans aren't around.
    • 92 Metascore
    • 100 Owen Gleiberman
    Toy Story 3 is a salute to the magic of making believe.
    • 91 Metascore
    • 91 Owen Gleiberman
    By the end, the rug gets pulled out from under us, showing that even the reality we think we see may be an illusion.
    • 91 Metascore
    • 75 Owen Gleiberman
    A crowd-pleaser, all right, but, for all its appeal, a naggingly sanctimonious one.
    • 90 Metascore
    • 100 Owen Gleiberman
    By the time The Crying Game is over, you'll never look at beauty in quite the same way.
    • 90 Metascore
    • 100 Owen Gleiberman
    A movie of staggering virtuosity and raw lyric power, a masterpiece of terror, chaos, blood, and courage.
    • 90 Metascore
    • 100 Owen Gleiberman
    Voluptuously engrossing.
    • 90 Metascore
    • 100 Owen Gleiberman
    It's a mad cycle of arrogance and despair, and Bloody Sunday etches it onto your nervous system.
    • 90 Metascore
    • 91 Owen Gleiberman
    Remains a majestic explosion of pure cinema. It's a hallucinatory poem of fear, projecting, in its scale and spirit, a messianic vision of human warfare stretched to the flashpoint of technological and moral breakdown.
    • 90 Metascore
    • 100 Owen Gleiberman
    Leaves you shaken and ecstatic at the same time, transported by the vision of a major film artist.
    • 90 Metascore
    • 100 Owen Gleiberman
    The most excitingly original movie of the year.
    • 90 Metascore
    • 100 Owen Gleiberman
    The new film, which unfolds in real time over the course of 80 minutes, is a deeper, darker, altogether more memorable experience. It doesn't extend the characters so much as fulfill them.
    • 90 Metascore
    • 91 Owen Gleiberman
    Crowe, staying close to his memories, has gotten it, for perhaps the first time, onto the screen.
    • 90 Metascore
    • 91 Owen Gleiberman
    Rachel Boynton’s gripping doc shows you what happens when the greed of oil companies meets the chaos of postcolonial Africa.
    • 90 Metascore
    • 91 Owen Gleiberman
    The movie might almost be winking at the fact that any single one of these performers could easily be the featured star of his or her own upper-crust period piece.
    • 90 Metascore
    • 100 Owen Gleiberman
    An extraordinary film; it may be the most haunting documentary since ''Crumb.''
    • 90 Metascore
    • 100 Owen Gleiberman
    A beautifully sinister and transfixing entertainment-age daydream.
    • 90 Metascore
    • 100 Owen Gleiberman
    It's a film of jaw-dropping virtuosity and pleasure, one that leaves you revved, enthralled, tickled, moved, and amazed.
    • 90 Metascore
    • 91 Owen Gleiberman
    The Passenger isn't finally the masterpiece some have made it out to be, but it retains a singular intrigue: It's the first, and probably the last, thriller ever made about depression.
    • 89 Metascore
    • 91 Owen Gleiberman
    An outrageously gorgeous spectacle of balletic aggression. At the same time, it offers something we rarely encounter in a whirling martial-arts extravaganza: a romantic passion that's woven into the very fabric of the action.
    • 89 Metascore
    • 67 Owen Gleiberman
    A film of droll and dry observational precision, its emotional minimalism is almost fetishistic -- and, by the end, a tad frustrating.
    • 89 Metascore
    • 91 Owen Gleiberman
    When Baron Cohen works without a net, he flies.
    • 89 Metascore
    • 100 Owen Gleiberman
    Ferguson spotlights two massive mistakes: the looting that was allowed to continue, destroying Iraqi infrastructure and morale; and--far more revelatory -- the apocalyptically stupid decision to disband the Iraqi army, sending half a million angry soldiers into the streets.
    • 89 Metascore
    • 83 Owen Gleiberman
    The result is a playful, elusive movie that isn't so much heartwarming as soul-cleansing.
    • 89 Metascore
    • 91 Owen Gleiberman
    Days after I saw The Artist, I was still thinking (and grinning) about it, because the movie's real romance is the one between us, the jaded 21st-century audience, and the mechanical innocence of old movies, which here becomes new again.
    • 89 Metascore
    • 100 Owen Gleiberman
    Watching Eternal Sunshine, you don't just watch a love story -- you fall in love with what love really is.
    • 89 Metascore
    • 100 Owen Gleiberman
    By the end, Campion views all her characters with a compassion bordering on grace, a humanity-like her heroine's-as dark, quiet, and enveloping as the ocean.
    • 88 Metascore
    • 100 Owen Gleiberman
    Until Once, I'm not sure that I'd ever seen a small-scale, nonstylized, kitchen-sink drama in which the songs take on the majesty and devotion of a musical dream.
    • 88 Metascore
    • 91 Owen Gleiberman
    A buoyant, funny, and disarmingly humane comedy of beautiful losers in revolt.
    • 88 Metascore
    • 91 Owen Gleiberman
    Capote honors its subject by doing just what Truman Capote did. It teases, fascinates, and haunts.
    • 88 Metascore
    • 91 Owen Gleiberman
    Mafioso does more than cast its fascinating shadow over "The Godfather." It captures, in a stark yet haunting way, the indelible fact that no man is born a mobster.
    • 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.
    • 88 Metascore
    • 91 Owen Gleiberman
    This is perhaps the only science-fiction film that can be called transcendental.
    • 88 Metascore
    • 100 Owen Gleiberman
    Working from a superb script by Paul Attanasio, Redford has caught the way a show like Twenty-One offered a carny-barker version of the American Dream.
    • 88 Metascore
    • 91 Owen Gleiberman
    A marvelous contraption, a wheels-within-wheels thriller that's pure oxygenated movie play.
    • 88 Metascore
    • 91 Owen Gleiberman
    Leigh gives you such a strong sense of his characters as fluky individuals that even his most lackadaisical scenes are alive with possibility. What holds Life Is Sweet together is his perception — at once funny and wise — that people, when they change at all, do so in small, nearly imperceptible ways, and that that may be enough.
    • 87 Metascore
    • 75 Owen Gleiberman
    It makes sense that L'Enfant has been hailed as a masterpiece, since a masterpiece is what it's trying, in every unvarnished frame, to be. If you wandered unknowingly into the film, however, you would see this: a stark, fascinating, and naggingly detached character study.
    • 87 Metascore
    • 100 Owen Gleiberman
    The richest and most satisfying romantic movie of the year. It's really about two great loves at once -- the love of life and of art -- and the way that Shakespeare, like no writer before him, transformed the one into the other.
    • 87 Metascore
    • 100 Owen Gleiberman
    This is Robert Redford doing what too many stars should do and don't: taking a chance. And reinventing his art. It's an extraordinary thing to see.
    • 87 Metascore
    • 100 Owen Gleiberman
    Brokeback Mountain is that rare thing, a big Hollywood weeper with a beautiful ache at its center. It's a modern-age Western that turns into a quietly revolutionary love story.
    • 87 Metascore
    • 91 Owen Gleiberman
    Painfully beautiful autobiographical kaleidoscope.
    • 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.
    • 87 Metascore
    • 91 Owen Gleiberman
    The supersmart and rousing Moneyball, which may be the best baseball movie since "Bull Durham," is also about talk, but in a coolly heady and original inside-the-front-office way.
    • 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.
    • 86 Metascore
    • 100 Owen Gleiberman
    The movie is grand and immersive. It plugs us into the final months of Lincoln's presidency with a purity that makes us feel transported as though by time machine.
    • 86 Metascore
    • 83 Owen Gleiberman
    Unravels the deceptions -- and the deep dishonor -- that inflated life-size valor into fake superheroism.
    • 86 Metascore
    • 75 Owen Gleiberman
    Slumdog Millionaire is nothing if not an enjoyably far-fetched piece of rags-to-riches wish fulfillment.
    • 86 Metascore
    • 67 Owen Gleiberman
    The film's most memorable performance is also its most incongruous: As Jimmy, the teen sap who falls hard for Suzanne, Joaquin Phoenix is dead-eyed yet touchingly vulnerable -- a mush-mouthed angel.
    • 86 Metascore
    • 91 Owen Gleiberman
    A movie of tough excitement and surprise, even grace.
    • 86 Metascore
    • 67 Owen Gleiberman
    It would be tempting to describe the Up movies as a miracle in the history of nonfiction filmmaking, if they didn't also represent one of the cinema's most singularly squandered opportunities.
    • 86 Metascore
    • 91 Owen Gleiberman
    Lynch's first movie since ''Blue Velvet'' that truly envelops you in its spell. It's a piece of celestial Americana -- his journey to the light side of the moon.
    • 86 Metascore
    • 100 Owen Gleiberman
    It's Swank, however, who's the revelation. By the end, her Brandon/Teena is beyond male or female. It's as if we were simply glimpsing the character's soul, in all its yearning and conflicted beauty.
    • 86 Metascore
    • 100 Owen Gleiberman
    This story of a 12-year-old boy who drops through the net of middle-class life invites us-in each shimmering frame-to gaze upon the world with a child's freshly awakening vision.
    • 86 Metascore
    • 83 Owen Gleiberman
    Ten
    A glimpse into a society that has grown more open, more free, and also more casually selfish in its interpersonal aggression.
    • 86 Metascore
    • 91 Owen Gleiberman
    The result is something as original as it is unlikely: a study in grief that is flooded with happiness.
    • 86 Metascore
    • 100 Owen Gleiberman
    In The Beaches of Agnès, you get addicted to watching Agnès Varda watch the world.
    • 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]
    • 86 Metascore
    • 100 Owen Gleiberman
    Brilliant and psychologically transfixing documentary.
    • 86 Metascore
    • 100 Owen Gleiberman
    Argo is never less than wildly entertaining, but a major part of its power is that it so ominously captures the kickoff to the world we're in now.
    • 86 Metascore
    • 100 Owen Gleiberman
    The rare Hollywood epic that dares to entertain an audience by engaging the world.
    • 86 Metascore
    • 100 Owen Gleiberman
    The movie is pulp, yet it attains a surprising emotional power-especially when Anjelica Huston's Lilly, a survivor who'll do whatever it takes to master her surroundings, is on-screen.
    • 86 Metascore
    • 100 Owen Gleiberman
    Still the grandest of all science-fiction movies.
    • Entertainment Weekly
    • 86 Metascore
    • 91 Owen Gleiberman
    Gliding from the physical to the metaphysical, Andersen reveals how films like ''Chinatown'' effectively remade the reality of Los Angeles, replacing history with myth in a way that now anchors the city more than that history itself does.
    • 86 Metascore
    • 100 Owen Gleiberman
    The film is sublime entertainment, at once ticklish and suspenseful, cynical and sincere. By its very existence, Altman's comedy about the death of Hollywood lets you know that movies are still alive and kicking.
    • 86 Metascore
    • 83 Owen Gleiberman
    You know you're in the hands of a true filmmaker when you feel invited, at every turn, to share his sense of entrancement. I got that feeling in just about every frame of American Beauty.
    • 86 Metascore
    • 100 Owen Gleiberman
    "Andy Warhol" makes you see that beneath the gargoyle hipster mask, he filled that emptiness with an art of transcendent sincerity.
    • 85 Metascore
    • 100 Owen Gleiberman
    Arenas' life zigzags before us in a manner as heady and unpredictable as it must have felt to the man who lived it.
    • 85 Metascore
    • 91 Owen Gleiberman
    A spectacular windup toy of a thriller -- a contraption made by an artist.
    • 85 Metascore
    • 100 Owen Gleiberman
    Mark Wahlberg, in a star-making performance, has the kind of electric ingenuousness that John Travolta did in "Saturday Night Fever."
    • 85 Metascore
    • 91 Owen Gleiberman
    Hopping from Germany to Turkey and back again, Akin is out to capture the ways that a globalized world can tear up our hearts, and repair them, too.
    • 85 Metascore
    • 100 Owen Gleiberman
    An exhilarating hall-of-mirrors look at what happens when global art fame turns anonymous, artists become objects, fans turn into artists, and the whole what's-sincere-and-what's-a-sham spectacle is more fun than art was ever supposed to be.
    • 85 Metascore
    • 91 Owen Gleiberman
    Just about the only documentary that works like a novel, inviting you to read between the lines of Baker's personality until you touch the secret sadness at the heart of his beauty.
    • 85 Metascore
    • 91 Owen Gleiberman
    The triumph of ''Spring, Summer'' is that even those of us who don't happen to be Buddhists can catch a glimpse of ourselves in the spinning wheel of hope, destruction, suffering, and bliss.
    • 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.
    • 85 Metascore
    • 83 Owen Gleiberman
    Wiseman reveals the victims of domestic abuse in all of their pity and terror.
    • 85 Metascore
    • 83 Owen Gleiberman
    Young, wizened yet valiant, his voice still braying at the moon, delivers these songs of aging and loss as if caught in a beautiful dream of what lies waiting for him on the other side.
    • 85 Metascore
    • 100 Owen Gleiberman
    The Past, is hugely ambitious — it's Farhadi seizing his moment — yet it's also a wrenchingly intimate tale of lives torn asunder by forces within and without them.
    • 85 Metascore
    • 67 Owen Gleiberman
    An insider nostalgia trip for graying art punks. It could have been called ''When We Were Cool,'' and it's finally so cool that it freezes you out.
    • 85 Metascore
    • 91 Owen Gleiberman
    At times, The Iron Giant is more serene than it needs to be, but it's a lovely and touching daydream.
    • 85 Metascore
    • 83 Owen Gleiberman
    Lopez, for all her Latina-siren voluptuousness, has always projected a contained coolness, and this is the first movie in which it fully works for her.