Owen Gleiberman
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For 2,347 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 6.4 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Glengarry Glen Ross
Lowest review score: 0 A Life Less Ordinary
Score distribution:
2,347 movie reviews
    • 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.
    • 77 Metascore
    • 100 Owen Gleiberman
    Grindhouse, like "Ed Wood" and "Boogie Nights," celebrates how certain low-grade entertainment, viewed in hindsight, looks different now than it did then, since we can see the ''innocence'' of its creation -- the handmade quality of it -- in a world not yet ruled by corporate technology.
    • 77 Metascore
    • 91 Owen Gleiberman
    The film is sketchy as biography, but it proves an aging artist can still crackle with the electricity of youth.
    • 77 Metascore
    • 91 Owen Gleiberman
    The War Tapes captures how the war in Iraq, for all its terrible carnage and death, is in a way too random in its destruction to even be called ''combat.''
    • 77 Metascore
    • 83 Owen Gleiberman
    Unlike the first two Decline films, this one is only tangentially concerned with music.
    • 77 Metascore
    • 100 Owen Gleiberman
    David Simon, creator of "The Wire," who argues that the targeting of minorities, fused with mandatory sentencing, has turned the war on drugs into ''a holocaust in slow motion.''
    • 77 Metascore
    • 91 Owen Gleiberman
    The actors are terrific, especially Weaving, who plays bottoming out as a tragedy spiked with gallows humor, and Blanchett, who digs deep into the booby-trapped nature of recovery. The revelation, however, is Rowan Woods, a major filmmaker in the making.
    • 77 Metascore
    • 67 Owen Gleiberman
    Duvall's acting turns magical: scary, touching, and full of grace. But Get Low, as directed by Aaron Schneider, forces you to sit through a lot of poky setup to reach that touching epiphany.
    • 77 Metascore
    • 50 Owen Gleiberman
    An unabashed descendant of "Bring Me the Head." This time, though, it's an entire corpse that gets hauled through the desert, and that's not all that's being toted. So is a hefty parcel of racial correctness.
    • 77 Metascore
    • 91 Owen Gleiberman
    The scary culminating flashback, in which Stephanie gives birth -- in a public restroom, on a high school ski trip -- is a marvel of authentic disturbance.
    • 77 Metascore
    • 50 Owen Gleiberman
    The movie takes the form of a lackluster women's-prison picture.
    • 77 Metascore
    • 50 Owen Gleiberman
    Unfortunately, most of the two-hour documentary is devoted to annotating what the Nazis stole for both their state and personal collections. The movie doesn't dramatize this crime -- it catalogs it. With deadening monotony.
    • 77 Metascore
    • 50 Owen Gleiberman
    To see this much austere vérité atmosphere propping up this much schlock romanticism is like biting into a blue-cheese canapé that turns out to be a fluffernutter.
    • 77 Metascore
    • 91 Owen Gleiberman
    The old-world-meets-new mesh is incarnated in the movie's soundtrack, a joyful effusion of disco Bollywood that, by the end of Monsoon Wedding, sent my spirit soaring out of the theater.
    • 77 Metascore
    • 100 Owen Gleiberman
    It reveals Bukowski to be a far grander artist than his bum's armor would suggest.
    • 76 Metascore
    • 100 Owen Gleiberman
    True art is a journey to somewhere you've never been, and there has never been a movie quite like Breaking the Waves.
    • 76 Metascore
    • 91 Owen Gleiberman
    The fascination of Dig! is that it invites those of us who aren't alt-rock obsessives into the hive, yet it never feels like a dilettante's tour.
    • 76 Metascore
    • 67 Owen Gleiberman
    With its lyrical vision of oppression, looks, if anything, milder now than it might have before the war.
    • 76 Metascore
    • 91 Owen Gleiberman
    For nostalgia junkies, it's one from the heart.
    • 76 Metascore
    • 100 Owen Gleiberman
    A movie as layered and enthralling as its subject.
    • 76 Metascore
    • 83 Owen Gleiberman
    The movie is playful and makes no easy moral judgments.
    • 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.
    • 76 Metascore
    • 91 Owen Gleiberman
    Using newsreel footage, clips of artistic propaganda (e.g., joyful proletarian farm ballets), and interviews with survivors, the movie draws us into the annihilating fervor of an era in which purge followed upon purge, in escalating waves of terror and control.
    • 76 Metascore
    • 75 Owen Gleiberman
    Has moments of biting tenderness, yet the movie made me wish that Sheridan had let in more of America.
    • 76 Metascore
    • 75 Owen Gleiberman
    This is how a Western today tries to give us more bang for the buck. By working this hard to be a crowd-pleaser, though, it may please fewer crowds.
    • 76 Metascore
    • 67 Owen Gleiberman
    The film never conveys that something larger is at work - like, say, the hand of fate. And without that, there's more busyness than beauty to Brontë.
    • 76 Metascore
    • 67 Owen Gleiberman
    We're not watching McCauley and Hanna anymore; we're watching De Niro and Pacino trying to out-insinuate each other. For a few moments, Heat truly has some.
    • 76 Metascore
    • 58 Owen Gleiberman
    For two and a half hours, Edel lays out the bombings, kidnappings, and murders committed by the Baader-Meinhof group, which mutated into the RAF. He catches the violently delusional self-righteousness of their antifascist fervor, but as individuals these cultish guerrillas remain opaque.
    • 76 Metascore
    • 83 Owen Gleiberman
    Dreamgirls is the rare movie musical with real rapture in it.
    • 76 Metascore
    • 91 Owen Gleiberman
    A dazzlingly crafted documentary about the teenage surf punks of lower Los Angeles who singlehandedly transformed skateboarding into the extreme sport it has become.
    • 76 Metascore
    • 100 Owen Gleiberman
    Bleak, brilliant, and unsparing.
    • 76 Metascore
    • 100 Owen Gleiberman
    The most resonant and haunting movie I've seen this year.
    • 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.
    • 76 Metascore
    • 75 Owen Gleiberman
    What's infectious in Soul Power is the almost shocking optimism of its America-meets-Africa '70s world-beat vibe.
    • 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.
    • 76 Metascore
    • 91 Owen Gleiberman
    You could describe Margin Call as a thriller (it's wired with suspense), yet the tension all comes from words.
    • 76 Metascore
    • 83 Owen Gleiberman
    The Hidden Blade is tranquil, touching, and, in its climactic sword fight, excitingly real.
    • 76 Metascore
    • 100 Owen Gleiberman
    It's a feat of star acting, and it helps make (500) Days not just bitter or sweet but everything in between.
    • 76 Metascore
    • 75 Owen Gleiberman
    It’s neorealist corn, but it gets to you.
    • 76 Metascore
    • 67 Owen Gleiberman
    Glum and preposterous -- an operatically stilted adolescent martyr fantasy -- and yet, as staged by Coppola, it's well worth seeing.
    • 76 Metascore
    • 100 Owen Gleiberman
    A spooky, heartbreaking documentary.
    • 76 Metascore
    • 67 Owen Gleiberman
    The routines are charged, even between jokes, with anticipatory hilarity.
    • 76 Metascore
    • 100 Owen Gleiberman
    Offers terrific interviews with the surviving Funk Brothers, who provide a tasty insider history of 4 a.m. recording sessions inside ''the snake pit'' (as the fabled Studio A was known) as well as a chilling description of their final kiss-off from Berry Gordy, the Motown mogul who treated them like indentured servants.
    • 76 Metascore
    • 100 Owen Gleiberman
    An exquisitely fun documentary.
    • 76 Metascore
    • 75 Owen Gleiberman
    Eckhart shows a new kind of foreboding anger. He's powerful as a man who will do anything to crack the ice.
    • 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.
    • 76 Metascore
    • 75 Owen Gleiberman
    Meticulous and detailed, a drug-world epic that holds you from moment to moment, immersing you in the intricate and sleazy logistics of crime. Yet the movie isn't quite enthralling; it's more like the ghost version of a '70s classic.
    • 76 Metascore
    • 50 Owen Gleiberman
    The film is so self-conscious it seems to be dictating your every reaction.
    • 76 Metascore
    • 67 Owen Gleiberman
    Has more atmosphere than it does coherence; it's a series of floating tricks and gambits in search of a resolution. Even so, Ye's ''Vertigo'' fever is contagious.
    • 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.
    • 76 Metascore
    • 100 Owen Gleiberman
    Down to the Bone achieves what only the best independent films have: making life, at its most unvarnished, a journey.
    • 75 Metascore
    • 75 Owen Gleiberman
    The movie, for all its half-baked visual marvels, remains remarkably faithful to Lewis' story, and the innocence of his passion begins to shine through. It's there, most spectacularly, in Aslan, the lion-king messiah.
    • 75 Metascore
    • 91 Owen Gleiberman
    A sprightly, lovingly researched, rather misty-eyed sports documentary that's steeped in ethnic pride.
    • 75 Metascore
    • 42 Owen Gleiberman
    It sounds churlish to argue that a movie can have too much integrity for its own good, but that's exactly the problem with La Ciénaga.
    • 75 Metascore
    • 83 Owen Gleiberman
    Delectably caustic comedy.
    • 75 Metascore
    • 100 Owen Gleiberman
    Easy Money is not merely an early-career curiosity. It's one of the best underworld films I've seen in years, and Kinnaman gives a fantastic performance in it.
    • 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.
    • 75 Metascore
    • 58 Owen Gleiberman
    It's a tease of a satire that never really follows through on its audacious premise.
    • 75 Metascore
    • 75 Owen Gleiberman
    This trio is like a looser, funnier version of the family of wrecks in Woody Allen's ''Interiors.''
    • 75 Metascore
    • 83 Owen Gleiberman
    Wide-ranging and beautifully edited -- it's a vivid evocation of a moment when even the ugliest guitar feedback could be taken as a serious political statement.
    • 75 Metascore
    • 100 Owen Gleiberman
    Sweet Land is a movie of extraordinary tenderness, in which Reaser and Guinee, using a language of looks, make you happy to think about what love once might have been.
    • 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.
    • 75 Metascore
    • 91 Owen Gleiberman
    Rarely have two actresses been so effortless in their intimacy.
    • 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.
    • 75 Metascore
    • 100 Owen Gleiberman
    She's an Everywoman you can believe in, showcased in the kind of deft comedy of feminine passion - where deep despair meets Wilson Phillips - that a great many people have been waiting for. Now that Wiig and company have built it, will they come?
    • 75 Metascore
    • 91 Owen Gleiberman
    An Inconvenient Truth can't, of course, reveal a future that is still up to us, but by the time you're done watching, the real question is, Which way on God's green earth would you want to err?
    • 75 Metascore
    • 91 Owen Gleiberman
    We're given an intimate seat to this wildly democratic - and creepily messianic - spectacle.
    • 75 Metascore
    • 83 Owen Gleiberman
    The Beat That My Heart Skipped lacks the screw-loose existential vibrance of "Fingers," yet it teases out a romantic underside to the original I never quite knew was there.
    • 75 Metascore
    • 100 Owen Gleiberman
    As riveting as its title.
    • 75 Metascore
    • 91 Owen Gleiberman
    Has a rowdy, jumpin'-jive vivacity. It's not quite as emotionally rounded as ''Shrek'' was... but it's got heart and delirium in equal doses, as well as a firecracker rhythm all its own.
    • 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.
    • tbd Metascore
    • 83 Owen Gleiberman
    Fans will gorge on this deft, year-by-year portrait of the ultimate enduring cult band.
    • 75 Metascore
    • 100 Owen Gleiberman
    Nader became famous as a "consumer advocate," but as the thrilling first hour of An Unreasonable Man makes clear, that humdrum bureaucratic term didn't do justice to his courage, his vision.
    • 75 Metascore
    • 83 Owen Gleiberman
    It's a David-and-Goliath tale, full of anger and disturbing accusation, but it's also inspiring.
    • 75 Metascore
    • 91 Owen Gleiberman
    There have, over the years, been a lot of terrific undersea documentaries, but if you want to know what distinguishes this new one, it comes down to a single word: technology.
    • 75 Metascore
    • 75 Owen Gleiberman
    Holbrook makes Abner a shining-eyed, noble crank.
    • 75 Metascore
    • 58 Owen Gleiberman
    Glazed over by its worship of Che Guevara.
    • 75 Metascore
    • 75 Owen Gleiberman
    Catching Fire is smoothly exciting but a bit of a tease.
    • 75 Metascore
    • 58 Owen Gleiberman
    More noteworthy for its intentions than its execution.
    • 75 Metascore
    • 100 Owen Gleiberman
    For sheer dramatic wallop outpowers virtually every fiction feature I've seen this year.
    • 75 Metascore
    • 83 Owen Gleiberman
    A little too programmed in its despair, but it coasts along on the jagged music of the modern lothario's song.
    • 75 Metascore
    • 100 Owen Gleiberman
    A candy store for film buffs.
    • 75 Metascore
    • 67 Owen Gleiberman
    The icy whimsy of Kitchen Stories is certainly well sustained, but you don't laugh at the movie so much as wait for the joke to thaw.
    • 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.
    • 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.
    • 75 Metascore
    • 83 Owen Gleiberman
    What sustains the film is the performers' belief in their shaggy-dog selves, which is more than just talent - it's faith.
    • 75 Metascore
    • 83 Owen Gleiberman
    The final affirmation of this romance is really an affirmation of Baumbach's talent: that a young filmmaker fixated on the solipsistic rituals of guyhood understands the hearts of women, too.
    • 75 Metascore
    • 91 Owen Gleiberman
    The beauty of Baadasssss! is the way Mario Van Peebles salutes his father's truth by coaxing it into legend.
    • 75 Metascore
    • 91 Owen Gleiberman
    This lone, fallen Nazi's obsessive distance from his actions is enough to give The Specialist a lingering chill.
    • 75 Metascore
    • 83 Owen Gleiberman
    Hugh Grant has grown up, holding on to his lightness and witty cynicism but losing the stuttering sherry-club mannerisms that were once his signature. In doing so, he has blossomed into the rare actor who can play a silver-tongued sleaze with a hidden inner decency.
    • 75 Metascore
    • 100 Owen Gleiberman
    A gripping documentary that uses voluminous period evidence — unedited news footage, tape recordings of SLA leader Cinque's rants — to brilliantly reconstruct the entire freak event.
    • 75 Metascore
    • 83 Owen Gleiberman
    Has a bright, dishy spirit.
    • 75 Metascore
    • 67 Owen Gleiberman
    After all of its sadness, a tender redemptive glow.
    • 75 Metascore
    • 83 Owen Gleiberman
    Yet S21, unlike many documentaries about the Nazi era, isn't a sickening panorama of brutality. Shot on video, it's quiet and intimate.
    • 75 Metascore
    • 100 Owen Gleiberman
    A wee romantic charmer, a delectable Dixie screwball romp that never loses its spry sense of discovery.
    • 74 Metascore
    • 75 Owen Gleiberman
    If The Bridesmaid is middle-drawer Chabrol, it's almost worth going to just to watch Laura Smet, a vamp of not-so-basic instinct.
    • 74 Metascore
    • 100 Owen Gleiberman
    Stone takes his characters right over the top, rubbing our noses in our own lust for excess, and some viewers are bound to say that he's gone too far. Yet this may be one case where too far is just far enough-where a gifted filmmaker has transformed his own attraction to violence into an art of depraved catharsis.
    • 74 Metascore
    • 75 Owen Gleiberman
    In Monster Theron undergoes one of the most startling transformations in the history of movies.
    • 74 Metascore
    • 100 Owen Gleiberman
    At 88 minutes, Tabloid is short and sweet (it's pure movie candy), but by the end we've forged an emotional connection to Joyce McKinney at the deep core of her unapologetic fearless/nutty valor. And that's what really makes a great tabloid story: It's a vortex that's also a mirror.
    • 74 Metascore
    • 67 Owen Gleiberman
    Too fragmented to be much more than a flip of the finger to history; the movie, with its mostly mute characters, is too content to plod.

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