For 2,337 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 6.7 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
Average review score: 66
Highest review score: 100 Black Dynamite
Lowest review score: 0 The Perfect Man
Score distribution:
2,337 movie reviews
    • 80 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.
    • 80 Metascore
    • 100 Owen Gleiberman
    Amy Adams in a performance as deep as it is delightful, is the film's heart and also its flaky, wonderstruck soul.
    • 80 Metascore
    • 100 Owen Gleiberman
    A bold, searching, wrenching experience. It may be the most complexly impassioned message movie Hollywood has ever made.
    • 80 Metascore
    • 100 Owen Gleiberman
    Food, Inc. is hard to shake, because days after you've seen it, you may find yourself eating something -- a cookie, a piece of poultry, cereal out of the box, a perfectly round waxen tomato -- and you'll realize that you have virtually no idea what it actually is.
    • 80 Metascore
    • 75 Owen Gleiberman
    Do Hou's films deserve to be seen? Absolutely, if only to end the myth that they're too perfect for this world.
    • 80 Metascore
    • 100 Owen Gleiberman
    It's a quiet dream of a movie, a vision of loneliness giving way to love, then to loneliness again; it's like "Vertigo" remade in a sedately haunted style of Japanese lyricism.
    • 80 Metascore
    • 75 Owen Gleiberman
    All staged as a harsh poem of survival, with no great psychological interest, yet the ending carries a surprise feminist tug that’s worth the wait.
    • 80 Metascore
    • 100 Owen Gleiberman
    A succulently entertaining movie that invites you to splash around in the dreams and follies of folks so rich they're the 1 percent of the 1 percent. It's like a champagne bath laced with arsenic.
    • 80 Metascore
    • 67 Owen Gleiberman
    Shouldering a laconic-good-guy, neo- Gary Cooper role, Robbins never quite makes emotional contact with the audience.
    • 80 Metascore
    • 100 Owen Gleiberman
    As tricky and satisfying as any of David Mamet's airless cinematic shell games. Mamet's films are all plot and no atmosphere; this one has a squalid, urban-greed-meets-the-gutter mood that lends its filigreed cleverness an unusually resonant kick.
    • 80 Metascore
    • 75 Owen Gleiberman
    Anyone expecting a tender sunset elegy, however, has wandered into the wrong film. Saraband, despite a few wistful moments, is a poison pill of a reunion.
    • 80 Metascore
    • 100 Owen Gleiberman
    Remains the only rock & roll film that exerts the saturnine intensity of a thriller.
    • 80 Metascore
    • 91 Owen Gleiberman
    The nature of silent comedy was to elevate its heroes into myths, but after ''Charlie'' I can't wait to see Chaplin's movies again, this time to glimpse the man on the other side of the icon.
    • 80 Metascore
    • 75 Owen Gleiberman
    Set in the 1960s, Robert De Niro's directorial debut is a work of vitality and flair. [22 Oct 1993, p.58]
    • 80 Metascore
    • 91 Owen Gleiberman
    Bigger, Stronger, Faster is a portrait of a culture that claims to hate steroids but may, by now, be too pumped to do much about it.
    • 80 Metascore
    • 100 Owen Gleiberman
    Rapt, heady, and startling: the most profound documentary I've seen this decade.
    • 80 Metascore
    • 91 Owen Gleiberman
    A richly tender and moving experience.
    • 80 Metascore
    • 100 Owen Gleiberman
    Room 237 makes perfect sense of "The Shining" because, even more than "The Shining" itself, it places you right inside the logic of how an insane person thinks.
    • 80 Metascore
    • 100 Owen Gleiberman
    The movie version, directed with unobtrusive precision by James Foley, stays amazingly true to the play's feisty spirit.
    • 80 Metascore
    • 83 Owen Gleiberman
    Good Night, and Good Luck has a small-scale time-capsule fascination, yet its hermeticism is really a form of moral caution -- a way of keeping the issues neat, the liberal idealism untainted.
    • 80 Metascore
    • 91 Owen Gleiberman
    A spooky, moving documentary.
    • 80 Metascore
    • 100 Owen Gleiberman
    Memento, which may be the ultimate existential thriller, has a spooky repetitive urgency that takes on the clarity of a dream.
    • 80 Metascore
    • 50 Owen Gleiberman
    If you're going to get on the wavelength of Little Miss Sunshine, you've got to be able to enjoy a comedy in which the characters fit into hermetically cute, predetermined sitcom slots.
    • 80 Metascore
    • 75 Owen Gleiberman
    Sweetgrass is austere enough to make Frederick Wiseman's films look like Jersey Shore episodes, yet it has its own suspense.
    • 80 Metascore
    • 100 Owen Gleiberman
    What it does have is an overwhelming bittersweet melancholy at the passing of life from middle age into…well, you could call it late middle age.
    • 80 Metascore
    • 91 Owen Gleiberman
    The film casts a hypnotic spell all its own. It artfully sketches out the events for anyone who's coming in cold, but basically, its strategy is to take what we already know and go deeper.
    • 80 Metascore
    • 83 Owen Gleiberman
    Moving and eerily beautiful.
    • 79 Metascore
    • 58 Owen Gleiberman
    The Peoples Temple congregation was sizably African-American. But when it comes to how those followers turned into a zombie Kool-Aid death cult, Jonestown: The Life and Death of Peoples Temple leaves you with more questions than you went in with.
    • 79 Metascore
    • 100 Owen Gleiberman
    It's a potent and moving experience, because by the end you feel you've witnessed nothing less than the birth of a soul.
    • 79 Metascore
    • 100 Owen Gleiberman
    She's a teller of hilarious gutbucket truths as surely as Lenny Bruce and Richard Pryor ever were. Yet while they were consumed by their demons, Rivers is just the opposite.
    • 79 Metascore
    • 67 Owen Gleiberman
    For all its music-trivia affection, High Fidelity is finally a pretty thin melody.
    • 79 Metascore
    • 100 Owen Gleiberman
    Carries so much impacted menace and visual narrative gamesmanship that it brought back some of the excitement I felt nearly a decade ago watching Quentin Tarantino's ''Reservoir Dogs.''
    • 79 Metascore
    • 100 Owen Gleiberman
    As he rises to each challenge, you realize that von Trier, the most exalted of prankish sadists, has orchestrated the filmmaking equivalent of the story of Job. The Five Obstructions glories in art, life, and the faith that binds them.
    • 79 Metascore
    • 67 Owen Gleiberman
    The trouble is, he's preaching to the choir -- or, at least, to a culture, profoundly influenced by Tom Brokaw's "The Greatest Generation" and Steven Spielberg's "Saving Private Ryan," that has already absorbed the lesson that ''the Good War,'' while it may have been noble, was never less than hell.
    • 79 Metascore
    • 100 Owen Gleiberman
    The film catches us by surprise in its moving portrayal of the love between Larry and Althea, played by Courtney Love in a performance that glides from kinky abandon to stark tragedy.
    • 79 Metascore
    • 91 Owen Gleiberman
    Working with affectionate mockery, the Coens take the cinder-block-synagogue banality of American Jewish life in 1967 and make it look as archly exotic as the loopy Scandinavian-American winterscape of "Fargo."
    • 79 Metascore
    • 91 Owen Gleiberman
    This one, as thoughtful as it is rousing, scores a TKO.
    • 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.
    • 79 Metascore
    • 50 Owen Gleiberman
    The stab at sublimity-by-proxy doesn't take.
    • 79 Metascore
    • 100 Owen Gleiberman
    Awesome documentary.
    • 79 Metascore
    • 91 Owen Gleiberman
    A domestic tragedy of lacerating vision.
    • 79 Metascore
    • 83 Owen Gleiberman
    Heavier on mood than incident, but its vision of a doomed erotic power war has a lurching authenticity.
    • 79 Metascore
    • 83 Owen Gleiberman
    Her memories lack the quality of revelation -- that is, up until the remarkable final section, in which she describes the last weeks in the bunker with Hitler and Eva Braun.
    • 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.
    • 79 Metascore
    • 67 Owen Gleiberman
    It's an irony too significant to ignore that the movie, which proselytizes against penning up whales in order to make them do cute tricks for humans, spends much of its time making Willy do cute tricks for humans.
    • 79 Metascore
    • 100 Owen Gleiberman
    Lindhardt, sweet and childish and achingly vulnerable, gives a stunning performance.
    • 79 Metascore
    • 83 Owen Gleiberman
    Captures the Joe Strummer who, in the late 1970s, just about firebombed the rock establishment with his fury.
    • 79 Metascore
    • 83 Owen Gleiberman
    The movie draws us into complicity with someone who may be on the verge of insanity, but only because he's living with the unbearable.
    • 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.
    • 78 Metascore
    • 67 Owen Gleiberman
    Directed by the ingenious documentarian Errol Morris (The Thin Blue Line), A Brief History of Time held out the promise of being an audacious, brain-bending experience. Instead, it's plodding and disappointingly conventional.
    • 78 Metascore
    • 50 Owen Gleiberman
    You'd have to be a stone not to be affected by My Flesh and Blood, but the director, Jonathan Karsh, merges compassion with voyeurism until you can't tell the difference.
    • 78 Metascore
    • 91 Owen Gleiberman
    Godzilla is still the most awesome of tacky movie monsters.
    • 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.
    • 78 Metascore
    • 91 Owen Gleiberman
    Andrew Wagner has made a lovely comedy of death and rebirth.
    • 78 Metascore
    • 67 Owen Gleiberman
    Displays a promise it doesn't, in the end, live up to. See it for Swinton's embodiment of unadulterated maternal will.
    • 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.
    • 78 Metascore
    • 83 Owen Gleiberman
    Andrew Bujalski's Funny Ha Ha, an ebullient sliver of a movie, follows a group of men and women in their early 20s, and for once the un-dialogue dialogue doesn't come off as an affectation.
    • 78 Metascore
    • 67 Owen Gleiberman
    The movie has a hushed sensual resonance, but it turns faith into an endurance test.
    • 78 Metascore
    • 100 Owen Gleiberman
    The movie is rich with class tension, and if Allen nails the moods of the wealthy, he also gets surprising, dynamic performances from Hawkins, Cannavale, and Andrew Dice Clay as the folks who have no money but may have a fuller sense of what life is.
    • 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.
    • 78 Metascore
    • 100 Owen Gleiberman
    The film takes off from formula elements-it's yet another variation on "Die Hard"-but it manipulates those elements so skillfully, with such a canny mixture of delirium and restraint, that I walked out of the picture with the rare sensation that every gaudy thrill had been earned.
    • 78 Metascore
    • 50 Owen Gleiberman
    Designed to be "inspirational," yet it shortchanges the complex reality of the lives it makes such a show of saving.
    • 78 Metascore
    • 67 Owen Gleiberman
    An epic aestheticization of World War II, a movie at once bold and baffling, immediate and abstract.
    • 78 Metascore
    • 67 Owen Gleiberman
    The songs of the South African freedom fighters were a literal call to arms. The music succeeded -- magnificently. The movie, on the other hand, is only so-so.
    • 78 Metascore
    • 83 Owen Gleiberman
    Deeply rich and strange new romantic comedy.
    • 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.
    • 78 Metascore
    • 91 Owen Gleiberman
    The film defuses all preconceptions about the ''issues'' of transsexual identity to arrive at a place of tremulous human power.
    • 78 Metascore
    • 75 Owen Gleiberman
    In this offbeat buddy-cop comedy, Don Cheadle, as an FBI agent trying to stop a drug ring, makes the perfect foil.
    • 78 Metascore
    • 67 Owen Gleiberman
    You giggle every so often, but you never give yourself over to the characters.
    • 78 Metascore
    • 83 Owen Gleiberman
    Yearns to be optimistic (juxtaposed with the disaster of Sudan, it certainly has the right to be), yet that only ends up underscoring its ache of sadness.
    • 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.
    • 78 Metascore
    • 100 Owen Gleiberman
    Zodiac never veers from its stoically gripping, police-blotter tone, yet it begins to take on the quality of a dream.
    • 78 Metascore
    • 100 Owen Gleiberman
    Fred Leuchter is just one deluded figure, but by the end of this great and chilling sick-joke documentary he stands as a living icon of the banality of evil.
    • 78 Metascore
    • 67 Owen Gleiberman
    A movie's refusal to judge bad behavior can be a subtle way of trumping the audience -- a passive-aggressive form of one-upmanship.
    • 78 Metascore
    • 75 Owen Gleiberman
    Son Frère is hushed, clinical, grimly paced, and moving.
    • 78 Metascore
    • 100 Owen Gleiberman
    It's a fluid cinematic essay, rooted in painstakingly assembled evidence, that heightens and cleanses your perceptions.
    • 78 Metascore
    • 67 Owen Gleiberman
    The past-and-present layering is a lot more resonant -- and less sketchy -- than the film's theme of ''betrayal,'' both familial and governmental.
    • 78 Metascore
    • 91 Owen Gleiberman
    All of Kung Fu Hustle is like that: You don't just watch it, you ride with it, laughing all the way.
    • 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.
    • 77 Metascore
    • 83 Owen Gleiberman
    A large-scale military drama with a quiet, almost mournful center.
    • 77 Metascore
    • 83 Owen Gleiberman
    Powerful and searching documentary.
    • 77 Metascore
    • 100 Owen Gleiberman
    An existential chain reaction, yet as remarkable as his cinematic gamesmanship is the way that he traces the anatomy of feeling in Lola.
    • 77 Metascore
    • 91 Owen Gleiberman
    If Linklater goes to a bit of an extreme here, it's in making both characters so intelligent and sincere, so ardent and giving, that they seem a little too good to believe.
    • 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.
    • 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!''
    • 77 Metascore
    • 100 Owen Gleiberman
    The movie draws us into the illusion that we're simply eavesdropping on the lives of three inner-city black and Hispanic girls.
    • 77 Metascore
    • 100 Owen Gleiberman
    Ulee's Gold is a story of redemption, and Nunez doesn't make redemption look any easier than it is.
    • 77 Metascore
    • 75 Owen Gleiberman
    For all the praise that has been heaped upon it, is a quasisatisfying, half realized vision.
    • 77 Metascore
    • 91 Owen Gleiberman
    Brashly engaging.
    • 77 Metascore
    • 91 Owen Gleiberman
    Movie stars radiate a power -- physical, erotic, spiritual -- that draws an audience into their orbit. Yet watching Curtis Hanson's gritty and electrifying 8 Mile, the first thing you notice about Eminem, the most scaldingly powerful artist in pop music today, is how vulnerable he looks.
    • 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.
    • 77 Metascore
    • 83 Owen Gleiberman
    Notre Musique is Godard's post-9/11 statement, a meditation on how war emerges from the eternal, and hypocritical, duality of human perception -- the sense that it's always ''the other'' who dies.
    • 77 Metascore
    • 91 Owen Gleiberman
    The Cockettes weren't talented, exactly, yet the bedazzled flakiness of their passion takes you closer than just about any movie has to what was once really meant by the term ''free-spirited.''
    • 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.
    • 77 Metascore
    • 50 Owen Gleiberman
    Lee Marvin, it must be said, is terrific as the platoon commander, and Fuller deserves props for the film's one sustained sequence: the D-Day attack, in which the platoon gets pinned on the beach for a hellish eternity.
    • 77 Metascore
    • 91 Owen Gleiberman
    The documentary equivalent of a page-turner.
    • 77 Metascore
    • 91 Owen Gleiberman
    Firth plays him as a man of his time who is also mournfully ahead of his time. He's addicted to his own broken heart. A Single Man may break yours as well.
    • 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.
    • 77 Metascore
    • 83 Owen Gleiberman
    A fascinating and lovingly crafted musical documentary that nevertheless misunderstands its own subject.
    • 77 Metascore
    • 67 Owen Gleiberman
    Whenever Sin Nombre turns violent, it seizes you with its convulsive skill, but the film's images vastly outstrip its imagination.