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 Side by Side
Lowest review score: 0 The Men Who Stare at Goats
Score distribution:
2,346 movie reviews
    • 85 Metascore
    • 67 Owen Gleiberman
    It's doubtful you'll ever see a combat documentary that channels the chaos of war as thoroughly as this one.
    • 85 Metascore
    • 100 Owen Gleiberman
    Fruitvale Station is great political filmmaking because it's great filmmaking, period.
    • 85 Metascore
    • 100 Owen Gleiberman
    A work of intimate and wrenching humanity.
    • 84 Metascore
    • 91 Owen Gleiberman
    It's a beautiful contraption of a movie, a gothic backwoods fable that uses its naive yet murderous hero to walk a fine line between sentimentality and dread.
    • Entertainment Weekly
    • 84 Metascore
    • 100 Owen Gleiberman
    In the Shadow of the Moon finds new resonance in the moment when America redefined progress -- but also when it heeded the siren song of a world so desolate it reminded you what a paradise ours truly is.
    • 84 Metascore
    • 67 Owen Gleiberman
    As long as Revanche focuses on the relationship between Tamara (Irina Potapenko), an indentured Ukrainian prostitute, and Alex (Johannes Krisch), the ex-con gofer and would-be tough guy who wants to help her escape, it's riveting.
    • 84 Metascore
    • 91 Owen Gleiberman
    A fascinating film -- more docudrama than biopic.
    • 84 Metascore
    • 100 Owen Gleiberman
    Bold and brilliant.
    • 84 Metascore
    • 91 Owen Gleiberman
    The unlikeliest enthralling movie to be released so far this year.
    • 84 Metascore
    • 75 Owen Gleiberman
    Darwin's Nightmare points an all-purpose finger at globalization, yet the movie, as raw and vivid as it is, meanders terribly and - bigger problem - never hints at how the disasters it shows us are rooted in Africa's colonial past.
    • 84 Metascore
    • 100 Owen Gleiberman
    Beautiful, wise, and poker-faced comedy of discombobulation.
    • 84 Metascore
    • 91 Owen Gleiberman
    Sheridan, however, works with such piercing fervor and intelligence that In the Name of the Father just about transcends its tidy moral design.
    • 84 Metascore
    • 91 Owen Gleiberman
    The final shot, of the three characters now united, may be the quietest affirmation of life I've ever seen in a movie, and one of the truest.
    • 84 Metascore
    • 75 Owen Gleiberman
    The movie opens as borderline Hitchcock, echoing the tone of the filmmaker's bravura "Bad Education" (2004), and then turns into a kind of overly conceptualized Tennessee Williams.
    • 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.
    • 84 Metascore
    • 100 Owen Gleiberman
    Another beautifully chiseled piece of filmmaking - sharp, funny, generous, and moving.
    • 84 Metascore
    • 100 Owen Gleiberman
    Mesmerizing.
    • 84 Metascore
    • 100 Owen Gleiberman
    The enthralling spirit of Dave Chappelle's Block Party, its mood of exuberant democracy, extends to every rap and soul performance in the film.
    • 84 Metascore
    • 91 Owen Gleiberman
    Creates a flow of symbolism so potent, so transporting in its physicality, that its impact all but transcends its righteous liberal ''meaning.''
    • 84 Metascore
    • 83 Owen Gleiberman
    The Cove is the rare documentary specifically designed as a thriller.
    • 84 Metascore
    • 83 Owen Gleiberman
    If this is the sound of a new generation, then it may be the first generation cautious enough to embrace friendship as mightier than love.
    • 84 Metascore
    • 100 Owen Gleiberman
    This is the rare movie that gets you to fall in love with characters you don't even like.
    • 84 Metascore
    • 50 Owen Gleiberman
    Maddin chops it up into a feature-length antique-bloodsucker video, and the result takes hold neither as dance nor as silent horror dream.
    • 83 Metascore
    • 75 Owen Gleiberman
    As visual spectacle, Avatar is indelible, but as a movie it all but evaporates as you watch it.
    • 83 Metascore
    • 100 Owen Gleiberman
    With its virtuoso tomfoolery, Fantastic Mr. Fox is like a homegrown Wallace and Gromit caper. To Wes Anderson: More, please!
    • 83 Metascore
    • 91 Owen Gleiberman
    The clever and infectious reboot of the amazingly enduring sci-fi classic, director J.J. Abrams crafts an origin myth that avoids any hint of the origin doldrums. That's because he rewires us back into the original Star Trek's primal appeal.
    • 83 Metascore
    • 91 Owen Gleiberman
    Has the resonance to stand not just as a terrific cartoon but as an emotionally pungent movie.
    • 83 Metascore
    • 91 Owen Gleiberman
    The writer-director, Peter Sollett, cast the film with kids from his own neighborhood, who give themselves over to the camera with a spirit of improvised play that morphs into vivid, layered acting.
    • 83 Metascore
    • 75 Owen Gleiberman
    As an achievement in macabre visual wizardry, Tim Burton's Corpse Bride has to be reckoned some sort of marvel.
    • 83 Metascore
    • 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.
    • 83 Metascore
    • 83 Owen Gleiberman
    Up through its first half, The Age of Innocence is a masterfully orchestrated tale of romantic yearning.
    • 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.
    • 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.
    • 83 Metascore
    • 100 Owen Gleiberman
    Raimi has made the most crazy, fun, and terrifying horror movie in years.
    • 83 Metascore
    • 100 Owen Gleiberman
    A funny and madly arresting new documentary.
    • 83 Metascore
    • 100 Owen Gleiberman
    Up in the Air is light and dark, hilarious and tragic, romantic and real. It's everything that Hollywood has forgotten how to do; we're blessed that Jason Reitman has remembered
    • 83 Metascore
    • 91 Owen Gleiberman
    The 3-D visuals envelop you, majestically, and that effect fuses with the band's surround-sound rapture to create a full-scale sensory high. U2 3D makes you feel stoned on movies.
    • 83 Metascore
    • 100 Owen Gleiberman
    The rare movie that turns cruelty into art.
    • 83 Metascore
    • 100 Owen Gleiberman
    It would be hard to imagine a movie about drugs, depravity, and all-around bad behavior more electrifying than Trainspotting.
    • 82 Metascore
    • 100 Owen Gleiberman
    It's a lesson in character to hear directors from David Lynch (digital believer) to Christopher Nolan (celluloid diehard) spout off.
    • 82 Metascore
    • 67 Owen Gleiberman
    Venus has a swank pedigree, but in this case that doesn't mean it's much more than a quaint machine to elicit tears and awards.
    • 82 Metascore
    • 100 Owen Gleiberman
    Emotionally mesmerizing.
    • 82 Metascore
    • 100 Owen Gleiberman
    A true-life adventure that turns into a one-man disaster movie - and the darker it gets, the more enthralling it becomes.
    • 82 Metascore
    • 91 Owen Gleiberman
    Tell No One's plot thickens in about five ways at once, but they're all connected. The issue of how is a riddle that does more than tease --gives you an itch you won't want to stop scratching.
    • 82 Metascore
    • 91 Owen Gleiberman
    The movie is a bumpy road of twists that leads to a revelation that has the shock and force of Greek tragedy.
    • 82 Metascore
    • 100 Owen Gleiberman
    A deeply straightforward yet beautifully crafted documentary.
    • 82 Metascore
    • 91 Owen Gleiberman
    Dark and giddy at the same time, Leaving Las Vegas takes us into dreamy, intoxicated places that no movie about an alcoholic has gone before.
    • 82 Metascore
    • 75 Owen Gleiberman
    Ballard connects you to the beauteous inner calm of the wild, even if audiences today are looking for a lot less calm.
    • 82 Metascore
    • 100 Owen Gleiberman
    Brie Larson, as the caring but tormented Grace (who's pregnant and doesn't know if she has the faith to have her baby), and John Gallagher Jr., as her gentle-dweeb fellow worker Mason (who fears his love can't save her), show you what emotionally naked acting is all about.
    • 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.
    • 82 Metascore
    • 75 Owen Gleiberman
    If Loach had given full voice to each side of this division, he could have made a great film -- maybe THE great film -- about the Irish struggle.
    • 82 Metascore
    • 100 Owen Gleiberman
    Keira Knightley, in a witty, vibrant, altogether superb performance, plays Lizzie's sparky, questing nature as a matter of the deepest personal sacrifice.
    • 82 Metascore
    • 91 Owen Gleiberman
    Here, in paranoid, bad acid trip form, is the real birth of girl power.
    • 82 Metascore
    • 100 Owen Gleiberman
    The School of Rock was made by gifted veterans of the American indie scene, but it's still the most unlikely great movie of the year.
    • 82 Metascore
    • 91 Owen Gleiberman
    Moving and marvelous new cross-cultural family saga.
    • 82 Metascore
    • 100 Owen Gleiberman
    It's a hilarious, and unexpectedly moving, documentary about the greatest metal band you've probably never heard of.
    • 82 Metascore
    • 91 Owen Gleiberman
    The Trip looks like a lark - and is - yet there's a sneaky resonance to the way it celebrates what acting means to these two rogue cutups.
    • 82 Metascore
    • 83 Owen Gleiberman
    Shot in spooky gradations of silver and shadow, The Prisoner of Azkaban is the first movie in the series with fear and wonder in its bones, and genuine fun, too.
    • 82 Metascore
    • 100 Owen Gleiberman
    It's better than good; it's such a crackling and mature and accomplished movie that it just about restores your faith.
    • 82 Metascore
    • 50 Owen Gleiberman
    It is also glib, shallow, and monotonous, a movie that spends so much time sanctifying its hero that, despite his "innocence," he ends up seeming about as vulnerable as Superman.
    • 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.
    • 82 Metascore
    • 91 Owen Gleiberman
    The Spectacular Now doesn't shrink from being an all-out teen movie (it has hookups and a senior prom). Yet it's one of the rare truly soulful and authentic teen movies. It's about the experience of being caught on the cusp and not knowing which way you'll land.
    • 82 Metascore
    • 50 Owen Gleiberman
    If random arty blood thrills are your cup of fear, perhaps you'll enjoy Let the Right One In, a Swedish head-scratcher that has a few creepy images but very little holding them together.
    • 82 Metascore
    • 91 Owen Gleiberman
    The end will haunt you.
    • 82 Metascore
    • 91 Owen Gleiberman
    Marley was directed by the gifted Kevin Macdonald (The Last King of Scotland), who shows off his chops not by doing anything dazzling - the film is documentary prose, not poetry - but by treating Marley as a man of depth and nuance, of inner light and shadow.
    • 82 Metascore
    • 67 Owen Gleiberman
    Shot in vivid black and white, the movie is like "Village of the Damned" directed by Ingmar Bergman, only without Bergman's intensity.
    • 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.
    • 82 Metascore
    • 100 Owen Gleiberman
    A triumph -- Demme's finest work since "The Silence of the Lambs," and a movie that tingles with life.
    • 82 Metascore
    • 100 Owen Gleiberman
    Pawlikowski has made a romance that becomes a horror movie in which love, more than anything around it, is a delusionary fever to fear.
    • 82 Metascore
    • 91 Owen Gleiberman
    At two hours and 32 minutes, this is almost too much movie, but it has a malicious, careening zest all its own. It's a ride for the gut AND the brain.
    • 82 Metascore
    • 100 Owen Gleiberman
    A haunting and incandescent work of art.
    • 82 Metascore
    • 91 Owen Gleiberman
    A tale of ordinary Americans scraping bottom, yet there's a redemption in that. The film asks: If you were this desperate, wouldn't you do the same?
    • 82 Metascore
    • 91 Owen Gleiberman
    It's wonderful to see a Japanese movie in which a samurai, for all his somber discipline and skill, is also a touching and complicated ordinary man.
    • 82 Metascore
    • 100 Owen Gleiberman
    It's hard to think of the last time a Pixar film made you go ''Wow!'' That's part of why The LEGO Movie is such outrageous and intoxicating fun.
    • 82 Metascore
    • 91 Owen Gleiberman
    Requiem is drawn from an incident that was also the basis for last year's demon-seed hit, "The Exorcism of Emily Rose."
    • 82 Metascore
    • 91 Owen Gleiberman
    Freshly transplanted from the stage, is a thrilling ode to the intertwined glories of sex, showmanship, and lying: what the film calls ''the old razzle-dazzle.''
    • 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."
    • 82 Metascore
    • 83 Owen Gleiberman
    Huppert has never been this cheerful, or lethal, and the movie itself is like Hitchcock's ''Rebecca'' reshot for House & Garden, with all the ghosts pulled out of the closet.
    • 82 Metascore
    • 100 Owen Gleiberman
    Lean, elegant, and emotionally complex -- a marvel of backwoods classicism.
    • 82 Metascore
    • 100 Owen Gleiberman
    A great, searching, incendiary chronicle of the Sex Pistols, the razor-hearted visionaries of punk anarchy.
    • 82 Metascore
    • 75 Owen Gleiberman
    It's an academic meditation in underworld-thriller drag -- a movie that looks about as close to a straight-ahead, down-and-dirty genre entertainment as anything the director has made since his exploding-head horror days.
    • 82 Metascore
    • 75 Owen Gleiberman
    At once scary and stirring.
    • 81 Metascore
    • 100 Owen Gleiberman
    A movie that re-creates its object of satire with such pitch-perfect flair that it all but erases the line between derision and love.
    • 81 Metascore
    • 83 Owen Gleiberman
    Rapt and beautiful and absorbing.
    • 81 Metascore
    • 100 Owen Gleiberman
    Blue Valentine is lushly touching and gorgeously told.
    • 81 Metascore
    • 50 Owen Gleiberman
    Regrettably, the film's story is so busy yet flat that the effect isn't magical -- it's more like watching the tale of some very enchanted wallpaper.
    • 81 Metascore
    • 100 Owen Gleiberman
    Between clips of the concerts Seeger staged as hootenanny hosannas, the film chronicles how the blacklisted star stuck true to his beliefs -- which were more patriotic than those of his accusers.
    • 81 Metascore
    • 67 Owen Gleiberman
    DiCaprio, having a blast, makes Candie the equivalent of Waltz's Nazi in "Inglourious Basterds": a racist villain who mesmerizes us by elevating his ideology into a puckishly thought-out vision of the world. Yet Django isn't nearly the film that Inglourious was.
    • 81 Metascore
    • 100 Owen Gleiberman
    Like David Lynch, Quentin Tarantino, and Paul Thomas Anderson, Solondz revels in ironic pop passion. It's a signature moment when he transforms Air Supply's "All Out of Love" into a geek-love rhapsody.
    • 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.
    • 81 Metascore
    • 100 Owen Gleiberman
    The Wrestler is like "Rocky" made by the Scorsese of "Mean Streets." It's the rare movie fairy tale that's also a bravura work of art.
    • 81 Metascore
    • 67 Owen Gleiberman
    Kids may be appropriately terrified, but to this overgrown Potter fan, Voldemort, the Darth Vader of the black arts, was a heck of a lot scarier when you couldn't see him.
    • 81 Metascore
    • 91 Owen Gleiberman
    A fizzy and delirious high-camp message-movie musical that may just turn out to be the happiest movie of the summer.
    • 81 Metascore
    • 100 Owen Gleiberman
    All in all, Blood Simple looks better than ever.
    • 81 Metascore
    • 100 Owen Gleiberman
    Relaunches the series by doing something I wouldn't have thought possible: It turns Bond into a human being again -- a gruffly charming yet volatile chap who may be the swank king stud of the Western world, but who still has room for rage, fear, vulnerability, love.
    • 81 Metascore
    • 67 Owen Gleiberman
    A fable of money as the root of jealousy, discord, violence, but the film's slippery fascination as sociological exposé is the flip side of its thinness as drama.
    • 81 Metascore
    • 100 Owen Gleiberman
    The Chinese artist and activist Ai Weiwei has achieved a prominence that makes him, in effect, the Aleksandr Solzhenitsyn of the Twitter age. He's also the least stuffy of dissidents, and Alison Klayman's stirring, important documentary catches his complex humanity.
    • 81 Metascore
    • 91 Owen Gleiberman
    It's a film noir that grows more potent as its secrets are revealed.
    • 81 Metascore
    • 67 Owen Gleiberman
    What the film leaves unexplained is how this joyous musical outpouring, which predated the revolution, could fare under a system with a pathological distrust of beauty.
    • 81 Metascore
    • 91 Owen Gleiberman
    In Shoot Me, she wears her spiked cynicism like a cutting form of grace, and everyone around her (including audiences) gets healed by it.