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 The Sweet Hereafter
Lowest review score: 0 Down to You
Score distribution:
2,346 movie reviews
    • 70 Metascore
    • 100 Owen Gleiberman
    It's cleansing to see the facts laid out with intimacy and rigor, and the film earns the comparison it makes to the squelching of due process for some of today's terror suspects.
    • 70 Metascore
    • 67 Owen Gleiberman
    As Benny, a small- town Irish teenager in the '50s who goes off to university in Dublin, Minnie Driver has a touchingly awkward prettiness. Her jaw may be as square as a picture frame, but her smile lights her up from within.
    • 70 Metascore
    • 83 Owen Gleiberman
    Herzog's fascinating, rambling, love-hate documentary about their friendship and creative partnership, and in its discursive, anecdotal way it gets at the essence of one of cinema's indelible crackpots.
    • 70 Metascore
    • 42 Owen Gleiberman
    There's no denying that Washington can play a rococo villain with flip ebullience, but I fervently wish he were doing it in a movie that paid more than lip service to the real world.
    • 70 Metascore
    • 50 Owen Gleiberman
    The quaint racial blinders are really on the eyes of the filmmaker, Peter Hedges, who shoves his characters into the narrowest of sitcom slots and seals them there.
    • 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.
    • 70 Metascore
    • 83 Owen Gleiberman
    The joy of cartoons meets the agony of office politics in this fascinating, inside- Hollywood-baseball documentary.
    • 70 Metascore
    • 100 Owen Gleiberman
    A marvelous rock doc that manages to be wistful, tasty, and jam-kicking at the same time.
    • 70 Metascore
    • 100 Owen Gleiberman
    If they handed out an Academy Award for Most Gripping Graphs and Charts, this film would take it.
    • 70 Metascore
    • 75 Owen Gleiberman
    The latest slacker manifesto, Clerks lacks the grunge artistry of either "Stranger Than Paradise" or "Slacker," but it's a fast, likable 90 minutes at the movies.
    • 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
    • 58 Owen Gleiberman
    Pucci proves to be one of the most charismatic male ingenues since Johnny Depp.
    • 69 Metascore
    • 91 Owen Gleiberman
    Bad Lieutenant doesn't go where you expect, but it has a stubborn, trippy logic.
    • 69 Metascore
    • 58 Owen Gleiberman
    Lee's images of black and white stereotypes are agreeably silly yet altogether too thin and vanilla safe.
    • 69 Metascore
    • 42 Owen Gleiberman
    Director Gaspar Noé proved a shock poet in "Irreversible" (2003). In Enter the Void, he's a shockingly tedious show-off.
    • 69 Metascore
    • 83 Owen Gleiberman
    The best thing about Revolutionary Road, a cool-blooded and disquieting adaptation of Richard Yates' 1961 novel about a powerfully unhappy Connecticut couple, is that it doesn't end with that rote vision of bourgeois anomie. It only begins there.
    • 69 Metascore
    • 75 Owen Gleiberman
    An enjoyable pop projection of post-9/11 anxiety.
    • 69 Metascore
    • 100 Owen Gleiberman
    Lusciously revealing fly-on-the-wall portrait of Anna Wintour.
    • 69 Metascore
    • 67 Owen Gleiberman
    To take the playfully convoluted, semi-nonsensical aggression of Rumsfeld's language and make it the whole point of a movie is to fall into the trap of mistaking the spin for the story.
    • 69 Metascore
    • 50 Owen Gleiberman
    The Farrellys may well be the new kingpins of adolescent slob comedy, but There's Something About Mary doesn't approach the witty anarchy of movies like "Animal House," "The Naked Gun," or "Hairspray."
    • 69 Metascore
    • 83 Owen Gleiberman
    In terms of storytelling, The Avengers is for the most part a highly functional, banged-together vehicle that runs on synthetic franchise fuel. Yet the grand finale of CGI action, set in the streets of New York, is - in every sense - smashing.
    • 69 Metascore
    • 75 Owen Gleiberman
    Barton Fink has an atmosphere of languid comic anxiety (it's like a cross between "Eraserhead" and "Angel Heart"), and it's fun to watch, if only because you have no idea what's coming next.
    • 69 Metascore
    • 67 Owen Gleiberman
    Nearly everything in The Big Lebowski is a put-on, but all that leaves you with is the Coens' bizarrely over-deliberate, almost Teutonic form of rib nudging.
    • 69 Metascore
    • 83 Owen Gleiberman
    Joshua does grow a bit repetitious (it lacks the cathartic climaxes of a horror film), yet it has cool and savvy fun with your fears.
    • 69 Metascore
    • 83 Owen Gleiberman
    This moving film explores the trauma of a Holocaust survivor with rare complexity.
    • 69 Metascore
    • 58 Owen Gleiberman
    It's all way too heavy-handed, though nicely acted by Hirsch, Culkin, and, especially, Jena Malone.
    • 69 Metascore
    • 91 Owen Gleiberman
    The most original and excitingly executed wow-factor-meets-handheld-video feature since "Blair Witch" itself. It's also a movie that rebuilds the power of special effects from the ground up.
    • 69 Metascore
    • 83 Owen Gleiberman
    It's all about a likable scoundrel who discovers what it means to act out of conviction. The film's underlying twist, though, is tartly ironic.
    • 69 Metascore
    • 91 Owen Gleiberman
    Soderbergh is able to execute his games without pigeonholing his characters. He has made that rare thing, a modern-day noir with feeling.
    • 69 Metascore
    • 75 Owen Gleiberman
    Who said that an environmental horror film couldn't be didactic and spooky at the same time?
    • 69 Metascore
    • 91 Owen Gleiberman
    Does the movie, with its sock-puppet intros and narration by RuPaul Charles, mock Tammy Faye, sanctify her, or turn her into a flamboyant image of distressed womanly martyrdom -- the Judy Garland of televangelism? All of the above.
    • 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?
    • 69 Metascore
    • 83 Owen Gleiberman
    People Say I'm Crazy doesn't defuse, or romanticize, the trauma of mental illness. It just humanizes it.
    • 69 Metascore
    • 100 Owen Gleiberman
    Beautifully edited, Go Tigers! is an enthralling look at the drama that can transpire in the autumn of one small town on any given Friday.
    • 69 Metascore
    • 91 Owen Gleiberman
    One of the pleasures of The Bank Job is that it returns us to the days when robbing a bank was a gritty, hole-in-the-wall affair.
    • 69 Metascore
    • 91 Owen Gleiberman
    A rowdy, richly offbeat biopic.
    • 69 Metascore
    • 91 Owen Gleiberman
    The movie never loses its affectionate, shaggy-dog sense of America as a place in which people, by now, have almost too much freedom on their hands.
    • 69 Metascore
    • 83 Owen Gleiberman
    Fair Game gets you riled up all over again at a deeply unpatriotic abuse of power.
    • 69 Metascore
    • 83 Owen Gleiberman
    Williams hasn't been this sympathetic in years.
    • 69 Metascore
    • 83 Owen Gleiberman
    A fascinating glimpse at the perils of ''exporting'' democracy.
    • 69 Metascore
    • 100 Owen Gleiberman
    Kevin Costner, as Bobby's carpenter brother-in-law, does the finest character acting of his career.
    • 69 Metascore
    • 75 Owen Gleiberman
    Chicago 10 is well worth seeing, if only because a good half of the film is devoted to extraordinary footage of the four days of rage that spawned the trial.
    • 69 Metascore
    • 91 Owen Gleiberman
    The film may be bloody, but it's also bloody gorgeous: a grandly fetishized epic of cinematic aggression. It's a tale of vengeance that hinges on Tarantino's love of ferocity as spectacle -- his immersion in action and exploitation, his addiction to the jazzy catharsis of junk-film kicks.
    • 69 Metascore
    • 42 Owen Gleiberman
    Too chicly depressive -- and, for the most part, too dull -- to bear.
    • 69 Metascore
    • 83 Owen Gleiberman
    The first rock & roll kung fu videogame youth love story.
    • 69 Metascore
    • 50 Owen Gleiberman
    The Go-Getter travels, but it doesn't go anywhere.
    • 69 Metascore
    • 91 Owen Gleiberman
    The tale itself is so spectacularly perverse, and the film stays so authentically close to the personalities involved, that you don't feel dirty -- you feel cleansed.
    • 69 Metascore
    • 75 Owen Gleiberman
    Had ''Boogie Nights'' been the tale of a California dreamer with a really long skateboard, the movie's delirious first half would have been ''Dogtown and Z-Boys,'' and its downbeat conclusion would be Stoked.
    • 68 Metascore
    • 75 Owen Gleiberman
    Might have been richer, tougher, more honestly liberal if it had revealed a few more shades of gray among the men.
    • 68 Metascore
    • 42 Owen Gleiberman
    Overheated yet bizarrely opaque criminal character study from Belgium.
    • 68 Metascore
    • 75 Owen Gleiberman
    Roth, there's no denying, creates considerable suspense out of our desire to confront the forbidden.
    • 68 Metascore
    • 50 Owen Gleiberman
    There's a certain breed of annoying indie movie in which a character's shyness is portrayed in a manner so coy that it becomes a reverse form of exhibitionism. Jump Tomorrow is that kind of movie.
    • 68 Metascore
    • 67 Owen Gleiberman
    By the end, you may marvel at the film's worldly-wise wink of maturity. You may also think, Is that all?
    • 68 Metascore
    • 67 Owen Gleiberman
    An experience you won't easily shake.
    • 68 Metascore
    • 75 Owen Gleiberman
    Jim Carrey entertains himself mightily in Liar Liar, and his enthusiasm is infectious.
    • 68 Metascore
    • 100 Owen Gleiberman
    May be the first movie to fully capture the way that drugs dislocate us from ourselves.
    • 68 Metascore
    • 91 Owen Gleiberman
    Casino Jack is really a look at how the culture of Washington was rebuilt to sell itself to the highest bidder.
    • 68 Metascore
    • 67 Owen Gleiberman
    Braveheart features some of the most enthralling combat sequences in years, and the excessive ferocity of the violence is part of the thrill.
    • 68 Metascore
    • 100 Owen Gleiberman
    Nothing more (or less) than an enchanting light comedy of romantic confusion... It's a movie that understands love because it understands pain.
    • 68 Metascore
    • 50 Owen Gleiberman
    Even a filmmaker as dazzling as Steven Spielberg has to create characters who lure us into their point of view, and the trouble with Tintin is that we're always on the outside, looking in. What all that motion can't capture is our hearts.
    • 68 Metascore
    • 67 Owen Gleiberman
    The movie is creepy, but it has no texture or depth. It's like "The Omen" directed by Miranda July.
    • 68 Metascore
    • 83 Owen Gleiberman
    I'm not generally a big fan of tribute concerts, but this is a glorious exception.
    • 68 Metascore
    • 75 Owen Gleiberman
    Paced a bit too glacially for my taste, yet it's worth sitting through for its trick ending, a twist of events as ominous as the landscape.
    • 68 Metascore
    • 83 Owen Gleiberman
    A fluid and gripping drama from Germany (it has the design of a thriller and the mood of a spontaneous, whirling-camera character study).
    • 68 Metascore
    • 91 Owen Gleiberman
    What hooks you from the start is Dakota Fanning's unfussy passion as Fern.
    • 68 Metascore
    • 83 Owen Gleiberman
    Spells out the problem in clear, urgent, prosaic terms.
    • 68 Metascore
    • 91 Owen Gleiberman
    The home-studio recording sequences in Hustle & Flow are funky, rowdy, and indelible. Brewer gives us the pleasure of watching characters create music from the ground up.
    • 68 Metascore
    • 58 Owen Gleiberman
    It's slow and pretentious, full of craggy Bavarian snowscapes and dour "mystical" portents that seem to circle back to nothing but themselves.
    • 68 Metascore
    • 42 Owen Gleiberman
    Further sad evidence that Tom Tykwer, director of the resonant and sense-spinning ''Run Lola Run,'' has turned out to be a one-trick pony -- a maker of softheaded metaphysical claptrap. It's enough to make you want to see him run again.
    • 68 Metascore
    • 58 Owen Gleiberman
    It has a few whispers of intrigue, but at the heart of The Bourne Identity lies a dispiriting paradox: The more that Jason Bourne learns about himself, the less arresting he seems.
    • 68 Metascore
    • 58 Owen Gleiberman
    There are funny bits in Amy Heckerling's high school sat-ire, but the characters are teen-movie zombies with no discernible personality apart from their trendoid obsessions.
    • 68 Metascore
    • 83 Owen Gleiberman
    Deepens the saga of New York's former governor and attorney general into the paradoxical morality play it really was. Spitzer, almost three years after he was caught soliciting escorts, comes off as chastened but still regal, like a hawkeyed Jewish Kennedy.
    • 68 Metascore
    • 91 Owen Gleiberman
    Jarecki is no glib ideologue thumbing his nose at power.
    • 68 Metascore
    • 67 Owen Gleiberman
    The movie is zippier than Tim Burton's oddly lifeless 2001 "Planet of the Apes" remake, but unlike good sci-fi, it doesn't signify anything, or really even try to.
    • 68 Metascore
    • 83 Owen Gleiberman
    Even when the catharsis we yearn for arrives, it's tinged with restraint. But then, the true romance in Shall We Dance? is more than personal. It's the spectacle of a nation learning to dance with itself.
    • 68 Metascore
    • 67 Owen Gleiberman
    Has an appealing modesty, but director Juan José Campanella works so hard to keep everything soft and winsome and charming that he cushions the understatement into blandness.
    • 68 Metascore
    • 58 Owen Gleiberman
    It would be nice to see a sharp, funny, penetrating satire of the new, kicked-up culture of empty media fame, but Tom DiCillo's scattershot buddy movie Delirious isn't it.
    • 68 Metascore
    • 91 Owen Gleiberman
    With its this-is-really-happening vibe, Paranormal Activity scrapes away 30 years of encrusted nightmare clichés. The fear is real, all right, because the fear is really in you.
    • 68 Metascore
    • 91 Owen Gleiberman
    Romantic comedies usually strike one or two moods, but in Afterglow, the writer-director Alan Rudolph runs through rainbows of feeling in a single scene.
    • 68 Metascore
    • 50 Owen Gleiberman
    The director's famously over-deliberate, pause-laden style verges, for the first time, on amateurville, and that gives us too much time to linger on the movie's more bizarre details.
    • 68 Metascore
    • 67 Owen Gleiberman
    The one figure in Revenge of the Sith who taps the true spirit of Star Wars is Ewan McGregor: With his beautiful light, clipped delivery, he plays Alec Guinness' playfulness, making Obi-Wan a marvel of benevolent moxie.
    • 68 Metascore
    • 67 Owen Gleiberman
    There are too many secondhand characters roving through Paris.
    • 68 Metascore
    • 83 Owen Gleiberman
    Fracture is working on us, playing us, but that's its pleasure. It makes overwrought manipulation seem more than a basic instinct.
    • 68 Metascore
    • 67 Owen Gleiberman
    Departures is tender and, at times, rather squishy. It's sure to squeeze the tear ducts of anyone who has lost a parent.
    • 68 Metascore
    • 58 Owen Gleiberman
    Starts out well, but it turns into an almost perversely undramatic legal thriller.
    • 68 Metascore
    • 67 Owen Gleiberman
    There's a fair amount of filler in The Italian Job, but it all boils down to the big heist, which has been staged as if it were Fort Knox being robbed by Evel Knievel.
    • 68 Metascore
    • 67 Owen Gleiberman
    Boils down to a performance film with abysmal sound in which you rarely get to see a good, revealing close-up of the stars.
    • 68 Metascore
    • 75 Owen Gleiberman
    Though the film gets a bit repetitive, in its moving climax Lior does more than just have his bar mitzvah -- he earns it.
    • 68 Metascore
    • 67 Owen Gleiberman
    Téchiné has made a half-captivating, half-baffling tease of a movie in which one woman's destructive whim has the effect of making anti-Semitism look like a myth. It's a distortion that Téchiné, with a passivity bordering on perversity, does nothing to dispel.
    • 68 Metascore
    • 67 Owen Gleiberman
    The trouble with all this is that it's thin movie tinsel that, while lovingly polished, never becomes more than tinsel. The Good Thief has a glib stylishness (the rapid freeze-frames at the end of scenes signify...nothing), yet it lacks a blast of reality to balance its fable.
    • 68 Metascore
    • 50 Owen Gleiberman
    Feels cramped and underimagined. I think Judge is capable of making an inspired live-action comedy, but next time he'll have to remember to do what he does in his animated ones--keep the madness popping.
    • 68 Metascore
    • 91 Owen Gleiberman
    As a flight of fantasy, Jurassic Park lacks the emotional unity of Spielberg's classics ("Jaws," "Close Encounters," "E.T."), yet it has enough of his innocent, playful virtuosity to send you out of the theater grinning with delight.
    • 67 Metascore
    • 67 Owen Gleiberman
    The double role suits Rockwell perfectly -- in fact, it suits him a little too well.
    • 67 Metascore
    • 100 Owen Gleiberman
    David Gordon Green's captivating winter-chill tragedy, is a tale that encompasses murder, divorce, adultery, alcohol abuse, mental breakdown, and the disappearance of a small child. In other words, it's downbeat enough to make the recent Oscar-nominated films look like party games.
    • 67 Metascore
    • 91 Owen Gleiberman
    A big, square, rousing political thriller docudrama.
    • 67 Metascore
    • 83 Owen Gleiberman
    Cameron wants to take the audience ''back to 'Titanic,''' but the journey's magic is hemmed in, paradoxically, by the transcendence of his previous effort; surely he must know that a lot of us never left.
    • 67 Metascore
    • 83 Owen Gleiberman
    Robot & Frank is sentimental high-concept fluff that works.
    • 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
    • 100 Owen Gleiberman
    Russian Dolls captures how being a sexual cad has become an essential phase in the life of the modern male.
    • 67 Metascore
    • 75 Owen Gleiberman
    The Well-Digger's Daughter pushes a number of nostalgia buttons at once, most of them pleasing.
    • 67 Metascore
    • 100 Owen Gleiberman
    It's the wildest screen comedy in a long time, and also the smartest, the most fearlessly inspired, and the snort-out-loud funniest.
    • 67 Metascore
    • 83 Owen Gleiberman
    Everything in the movie -- family demons, May-December sex, the lessons of writing -- ties together with pinpoint precision. That's a pleasure, to be sure, and a limitation, too.
    • 67 Metascore
    • 83 Owen Gleiberman
    Sound of My Voice doesn't follow through on everything it sets up, yet it has a hushed and revealing psycho-intensity. It also has an oh-wow Twilight Zone ending that truly made me go, ''Oh, wow.''
    • 67 Metascore
    • 83 Owen Gleiberman
    Steel City could have used more rhythmic drive, but if Jun keeps weaving together characters this compelling, he could be a major film artist in the making.
    • 67 Metascore
    • 75 Owen Gleiberman
    It's a messy, entertaining documentary rooted in -- though not limited to -- the iconically indulgent years of Fellini's later career.
    • 67 Metascore
    • 58 Owen Gleiberman
    Offers tricky fragmentation without mystery or mood; it's a mosaic of fear that grows less and less unsettling as it comes together.
    • 67 Metascore
    • 83 Owen Gleiberman
    Lee, as he did in ''Malcolm X'' and ''Clockers,'' makes his hero's dread palpable, and though 25th Hour lacks the glittering brilliance of those films, I was held by the toughness and pity of Lee's gaze.
    • 67 Metascore
    • 83 Owen Gleiberman
    Scalding and glib, derisive yet impassioned, Fahrenheit 9/11 is an intensely resonant piece of Bush-bashing, because it lets the president do most of the work.
    • 67 Metascore
    • 83 Owen Gleiberman
    The highest praise I can give to Mondovino is that it makes you want to sample every vintage it shows you.
    • 67 Metascore
    • 67 Owen Gleiberman
    A number of scenes have been staged with satisfying kinetic flair, and Willis once again makes an appealing superhero. Yet without that great big booby-trapped skyscraper to hold the action together, the suspense dissipates.
    • 67 Metascore
    • 67 Owen Gleiberman
    Delpy wrote and directed this study of a relationship heading (it would seem) for the rocks. She stages it with a funny and diverting improv-y flow.
    • 67 Metascore
    • 75 Owen Gleiberman
    There is a method to its madness, since the madness here is really Cobain's. Last Days mythologizes his suicide as a haunting act of fulfillment: the consummation of a life that had already ceased to be.
    • 67 Metascore
    • 75 Owen Gleiberman
    Lin works with a rhythmic observational flair that outweighs the movie's flaws. It's a long way from Long Duk Dong.
    • 67 Metascore
    • 100 Owen Gleiberman
    This documentary about the triumph of the New Hollywood employs a treasure trove of interviews and clips to create a rich understanding of the many forces -- cultural undertows, really -- that flowed together to fill the void left by the dying studio system.
    • 67 Metascore
    • 75 Owen Gleiberman
    Depp portrays a fellow who is openly gentle to the core, and the actor just about wraps the movie around his lilting delivery and quiescent gaze.
    • 67 Metascore
    • 50 Owen Gleiberman
    XXY
    It's set at a beach house, but we see only gray skies, and though Efron has a wary and cutting intelligence (it matches that of the fine actor Ricardo Darin, who plays her father), the effect is tepid and damp.
    • 67 Metascore
    • 75 Owen Gleiberman
    There's nothing corny, however, about the climactic shoot-out, which Costner has staged superbly as an extended logistical mini-war that surges and rifle-cracks with bloody abandon through what feels like every building in town. Call it dances with guns.
    • 67 Metascore
    • 83 Owen Gleiberman
    As skewed, prismatic, and free of fluff as the man himself.
    • 67 Metascore
    • 83 Owen Gleiberman
    At times, Kung Fu Panda 2 suggests "Bambi" redone as an episode of Oprah. Yet it's a more-than-worthy sequel.
    • 67 Metascore
    • 91 Owen Gleiberman
    Clooney certainly brings out the best in his actors, but his driving trait as a filmmaker is that he knows what plays - he has an uncanny sense of how to uncork a scene and let it bubble and flow.
    • 67 Metascore
    • 100 Owen Gleiberman
    The movie is tough-minded: It zeroes in on Patrick's anger at dating a closeted football star, and it doesn't let Charlie off the hook for his cruelty or self-pity.
    • 67 Metascore
    • 67 Owen Gleiberman
    The Myth of the American Sleepover has fresh, lovely moments, but it could have used more psychological heft.
    • 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.
    • 67 Metascore
    • 67 Owen Gleiberman
    In the end, the movie says that the President's private life matters, all right -- that Shepherd should get the girl and reestablish his leadership by giving in to the noble liberal he always was inside. Even for a modern Capra fable, that's a bit much to swallow.
    • 67 Metascore
    • 50 Owen Gleiberman
    Benoît Jacquot's film is shackled to a blah bourgeois leftism.
    • 67 Metascore
    • 67 Owen Gleiberman
    An eminently easy-to-watch piece of one-joke pop japery, is a movie that mimics the I'm-a-character-in-my-own-life metaphysical playfulness of "The Truman Show."
    • 67 Metascore
    • 75 Owen Gleiberman
    Cairo Time is affectingly gentle, with Juliette slowing down to open up -- a gossamer transformation that Clarkson makes tangible.
    • 67 Metascore
    • 91 Owen Gleiberman
    By the end of Nowhere Boy, you'll feel you know John Lennon better than you ever did.
    • 67 Metascore
    • 58 Owen Gleiberman
    From its jokey, one-note characters to its endless baseball montages, A League of Their Own is all flash, all surface.
    • 67 Metascore
    • 83 Owen Gleiberman
    Paul Giamatti, dialing down his trembly-voiced neurotic energy to good effect, gives a holy hell of a performance as Barney Panofsky.
    • 67 Metascore
    • 83 Owen Gleiberman
    The fascination of Confessions of a Dangerous Mind, the sharp, funny, unreasonably compelling adaptation of Barris' autobiography, is the way it soft-shoes past our skepticism.
    • 67 Metascore
    • 50 Owen Gleiberman
    Trust, the cult-movie view turns precious and smug.
    • 67 Metascore
    • 83 Owen Gleiberman
    Posey, her attention divided up into slivers, is funny as hell, but she's also terrifying in her evocation of a kind of moment-to-moment PowerPoint existence.
    • 67 Metascore
    • 75 Owen Gleiberman
    This Is It offers a raw and endearing sketch of a genius at work.
    • 67 Metascore
    • 83 Owen Gleiberman
    The movie's redemptive structure is a bit routine, yet I watched nearly every scene with a sense of discovery. Coppola is a true filmmaker, and in Somewhere she pierces the Hollywood bubble from the inside.
    • 67 Metascore
    • 83 Owen Gleiberman
    Highlights Gaskin's down-home gumption as an advocate for the glory of natural childbirth.
    • 67 Metascore
    • 83 Owen Gleiberman
    Ruby Sparks is a romantic comedy that takes off from a premise so fanciful it needs every bit of the freshness that Dano brings it.
    • 67 Metascore
    • 75 Owen Gleiberman
    I'd be lying if I didn't admit that Rock School, Don Argott's amusing and spirited documentary, would seem a heck of a lot niftier if its fire hadn't already been stolen by "School of Rock."
    • 67 Metascore
    • 83 Owen Gleiberman
    High-octane trash, but you will go "Ohhhhhh!"
    • 67 Metascore
    • 83 Owen Gleiberman
    What holds The Eclipse together is Hinds' sorrowful and moving performance as a man haunted in more ways than one.
    • 67 Metascore
    • 50 Owen Gleiberman
    It's all very sub-Tarantino showy and empty - at least, until the head-scratching climax, which tries to be "Eyes Wide Shut," "The Wicker Man," and "The Twilight Zone" all at once, but only makes you wish that you were watching one of them instead.
    • 66 Metascore
    • 83 Owen Gleiberman
    It's no insult to Tupac to say that he was gangsta rap's greatest matinee idol, or that he lived the part only too well.
    • 66 Metascore
    • 42 Owen Gleiberman
    The British director Ken Loach can be a master of working-class realism, but not in this cranky, rudderless shambles.
    • 66 Metascore
    • 75 Owen Gleiberman
    A scrupulous and honorable film. Yet it never comes close to being a revelatory one; it sentimentalizes more than it haunts.
    • 66 Metascore
    • 83 Owen Gleiberman
    I found The Girl Who Played With Fire more gripping than "Dragon Tattoo," because this one doesn't just play with thriller conventions -- it puts them to work.
    • 66 Metascore
    • 67 Owen Gleiberman
    The film gets a little ''We can fix this!'' inspirational for a chronicle of such staggering darkness.
    • 66 Metascore
    • 91 Owen Gleiberman
    On the Outs parses the hopes and terrors of blasted lives with an empathy that never cheapens into pity. The movie wounds as much as it heals, and that's its true power.
    • 66 Metascore
    • 83 Owen Gleiberman
    It hooks you up, happily, to your inner top chef.
    • 66 Metascore
    • 58 Owen Gleiberman
    Andy Garcia reminds you of what a cunning, likable actor he can be.
    • 66 Metascore
    • 100 Owen Gleiberman
    The Girlfriend Experience is one of Steven Soderbergh's bite-size, semi-improvised, shot-on-DV doodles (like Bubble or Full Frontal), and it's the best one he's made.
    • 66 Metascore
    • 67 Owen Gleiberman
    Diary of the Dead isn't bad; it's a kicky B movie hiding inside a draggy, self-conscious-work-of-auteurist-horror one.
    • 66 Metascore
    • 75 Owen Gleiberman
    Very much a kiddie ride, Stuart Little 2 is lively without being hyperactive -- it's a bouncy mouse caper with a wee bit of soul.
    • 66 Metascore
    • 50 Owen Gleiberman
    Fourteen years after "Happiness," why is director Todd Solondz still mucking around with the sort of idiot neurotic dweeb who makes George Costanza look like George Clooney?
    • 66 Metascore
    • 91 Owen Gleiberman
    Directed by Tony Scott, Crimson Tide is the kind of sumptuously exciting undersea thriller that moves forward in quick, propulsive waves.
    • 66 Metascore
    • 100 Owen Gleiberman
    To say that Eastwood, who directed, has done a first-rate job of adaptation fails to do him justice. What he's brought off is closer to alchemy.
    • 66 Metascore
    • 42 Owen Gleiberman
    The best thing in the movie is Arterton's sultry, claw-baring turn, but mostly it's a rudderless riff on "Let the Right One In."
    • 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
    • 67 Owen Gleiberman
    It's nifty to behold, but about the only drama in Steamboy lies in waiting for this colossal hovering machine-monster to blow a gasket.
    • 66 Metascore
    • 83 Owen Gleiberman
    If you want to hear juicy inside tales of the scams devised by Lee Atwater, the right-wing visionary of media-age dirty tricks, you'll find loads of them in Boogie Man.
    • 66 Metascore
    • 91 Owen Gleiberman
    For a while, the girls' personalities seem almost interchangeable, but that's part of the texture. Katie Chang gives the leader a ripe synthetic glow, and Emma Watson does a remarkable job of demonstrating that glassy-eyed insensitivity need not be stupid.
    • 66 Metascore
    • 83 Owen Gleiberman
    Gordon-Levitt proves a natural filmmaker, nimbly staging Jon's highly amusing Catholic confessions, along with porn montages that mimic the dopamine-charged editing of "Requiem for a Dream." He also gets a terrific performance out of Tony Danza as Jon's hilariously blinkered brute of a dad.
    • 66 Metascore
    • 100 Owen Gleiberman
    The most exhilarating movie so far this year. It's made up of many familiar elements -- think ''Monsoon Wedding'' meets ''My Beautiful Laundrette'' meets ''Personal Best'' -- yet before long, you catch on to how buoyant and funny and original it is.
    • 66 Metascore
    • 83 Owen Gleiberman
    The Prestige isn't art, but it reaps a lot of fun out of the question, How did they do that?
    • 66 Metascore
    • 67 Owen Gleiberman
    Well acted.
    • 66 Metascore
    • 100 Owen Gleiberman
    There's a poetic irony to the idea that it took a female filmmaker to finally do justice to Philip Roth on screen.
    • 66 Metascore
    • 67 Owen Gleiberman
    Worth seeing.
    • 66 Metascore
    • 100 Owen Gleiberman
    Maggie Gyllenhaal is such a miracle of an actress that she makes you respond to the innocence of Sherry's desperate, selfish destruction.
    • 66 Metascore
    • 75 Owen Gleiberman
    It's the closest the movies have come in a while to the nudgy, knowing fairy-tale enchantment of "The Princess Bride."
    • 66 Metascore
    • 58 Owen Gleiberman
    Turns out to be the portrait of a serial yo-yo dieter, an impression enhanced by the 60 year old Berlin, who suggests less a former depraved scenester than a calorie compulsive Martha Stewart grown bored with good taste.
    • 66 Metascore
    • 75 Owen Gleiberman
    A modest vérité portrait of Wilco, the engagingly melodious, deeply unglam alt-folk rockers.
    • 66 Metascore
    • 75 Owen Gleiberman
    The races are scorchingly shot, and they lend the movie a zest.
    • 66 Metascore
    • 75 Owen Gleiberman
    Stolidly corny, old-fashioned pulp fun.
    • 66 Metascore
    • 100 Owen Gleiberman
    The film is at times harrowing to watch, yet it's also wry and delicate and absorbing. It's infused with the messy excitement of imperfect passion.
    • 66 Metascore
    • 83 Owen Gleiberman
    An enjoyably supercharged and ultraviolent teen-rebel comic-book fantasy that might be described -- in spirit, at least -- as reality-based.
    • 66 Metascore
    • 67 Owen Gleiberman
    The result is a musical that substitutes irony for pop passion, misanthropic disjointedness for lyrical flow.
    • 66 Metascore
    • 67 Owen Gleiberman
    But Philadelphia turns out to be a scattershot liberal message movie, one that ties itself in knots trying to render its subject matter acceptable to a mass audience.
    • 66 Metascore
    • 91 Owen Gleiberman
    Anthology films usually work better in theory than execution, but this feature parade of shorts is a blithe, worldly, and enchanting exception.
    • 66 Metascore
    • 83 Owen Gleiberman
    Hurtling and impassioned, driven by some of the greatest popular music ever recorded, this wildly overripe and unkempt biopic is a true experience.
    • 66 Metascore
    • 91 Owen Gleiberman
    Bilbo, as played by Freeman, suggests a sly-dog Dana Carvey without irony, and he is certainly overmatched, but that doesn't mean he's outplayed. Desolation is now his business.
    • 66 Metascore
    • 25 Owen Gleiberman
    It's one of those stultifying aftermath-of-
a-car-crash movies.
    • 66 Metascore
    • 75 Owen Gleiberman
    Premium Rush earns its place as end-of-the-summer escapism, but I can't say that it's more than a well-done formula flick. At this point, it's just one more movie-as-ride. But this one at least lives up to its title.
    • 66 Metascore
    • 75 Owen Gleiberman
    If you want a whiff of how unironic the 1970s were, consider bowling, a sport that on any given weekend was broadcast (usually on ABC) with the hushed solemnity of a moon launch.
    • 66 Metascore
    • 83 Owen Gleiberman
    A gratifyingly clever, booby-trapped thriller that has enough fun and imagination and dash to more than justify its existence.
    • 66 Metascore
    • 83 Owen Gleiberman
    The rare case in which a filmmaker's unadulterated worship of his subjects adds force and resonance--and not just luster--to the way that we see them.
    • 66 Metascore
    • 100 Owen Gleiberman
    The beauty of Two Girls and a Guy is that it presents us with a hero so craven, so indefensible in his duplicity, that his twin victims leapfrog past vengeance into an almost physical state of curiosity.
    • 66 Metascore
    • 58 Owen Gleiberman
    For a while, the atmosphere seems just right. As Mrs. Parker goes on, it becomes apparent that the one-liners, droll as some of them are, aren't really going to coalesce into characters, scenes, dramatic encounters.
    • 66 Metascore
    • 67 Owen Gleiberman
    Without the music, the movie might have been painful, but the songs, Auto-Tuned and processed as they are, generate a hooky bliss. They're the chewy center of this ultra-synthetic hard candy.
    • 65 Metascore
    • 67 Owen Gleiberman
    Star Trek VI is just pleasantly diverting, business-as-usual hokum.
    • 65 Metascore
    • 75 Owen Gleiberman
    In spirit, I Am Legend is caught in some abstractly doom-laden sci-fi past. For what it is, though, the film is well-done, a case of suspenseful competence trumping questionable relevance.
    • 65 Metascore
    • 83 Owen Gleiberman
    A lickety-split, madly packed, roller-coaster entertainment that might almost have been designed to make you scared of how much smarter your kids are than you.
    • 65 Metascore
    • 50 Owen Gleiberman
    Soderbergh, in essence, has come up with a plodding and far less psychologically arresting version of ''Ghost.''
    • 65 Metascore
    • 91 Owen Gleiberman
    Just when you're certain that Jarmusch is treading water with his borderline-tedious cleverness, something happens: Coffee and Cigarettes turns into a movie FULL of talk -- rich, supple, hilarious, masterfully orchestrated talk.
    • 65 Metascore
    • 100 Owen Gleiberman
    The film sweeps us up like a thriller, forcing us to at least ask whether terrorism like the ELF's (which targeted property, never human lives) might ever be justified.
    • 65 Metascore
    • 100 Owen Gleiberman
    Along the way, Black Dynamite blends satire, nostalgia, and cinema deconstruction into a one-of-a-kind comedy high.
    • 65 Metascore
    • 83 Owen Gleiberman
    The movie, which has the slightly glum perversity of early Chabrol, is a dream of betrayal, with the squirmiest attack-of-nature tableau since Willard.
    • 65 Metascore
    • 42 Owen Gleiberman
    A movie overtly designed to win attention (and not to do much else).
    • 65 Metascore
    • 100 Owen Gleiberman
    It's the first Hollywood Iraq movie to remind me of a Vietnam film like Coming Home, and it does more than disturb. It scalds, moves, and heals.
    • 65 Metascore
    • 83 Owen Gleiberman
    The Debt is basically an entertaining riff on "Munich." It's about a (fictional) operation of top secret Israeli revenge, carried out by three highly trained agents whose plan goes off the rails in ways that are more fascinating than the mission itself.
    • 65 Metascore
    • 67 Owen Gleiberman
    The movie keeps you occupied, but in a processed, unexciting way.
    • 65 Metascore
    • 83 Owen Gleiberman
    The director, Joseph Lovett, wants us to ask if there's such a thing as too much freedom, and he has the sobriety to say yes -- and no.
    • 65 Metascore
    • 75 Owen Gleiberman
    The Great Debaters is like one of those sentimentally revved youth-sports-team crowd-pleasers. This time, though, the sport is debating, and the setting is an elite black college in Marshall, Tex., in 1935
    • 65 Metascore
    • 50 Owen Gleiberman
    Puss in Boots is beautifully animated (with 3-D that adds nothing), but the film is so mindlessly busy that it seems to be trying to distract you from the likable, one-note feline swashbuckler at its center.
    • 65 Metascore
    • 83 Owen Gleiberman
    Chesney makes an art form out of strolling down the catwalk while singing. He turns each song into a blissed-out journey homeward.
    • 65 Metascore
    • 83 Owen Gleiberman
    Velvet Goldmine is no masterpiece, but, at its best, it's a ravishing rock dream.
    • 65 Metascore
    • 75 Owen Gleiberman
    Being Julia flirts too heavily with soap opera clichés, but it has enough surprises to keep you guessing, and for Annette Bening it's the liveliest of comebacks.
    • 65 Metascore
    • 58 Owen Gleiberman
    Still, just about everything in Goldeneye, from its rote nuclear-weapon-in-space plot to the recitation of lines that sound like they're being read off stone tablets (''Shaken, not stirred!''), has been served up with a thirdhand generic competence that's more wearying than it is exhilarating.
    • 65 Metascore
    • 75 Owen Gleiberman
    As entertaining as some of it is, is so cool that it's almost too cool. It takes the sin, and much of the juice, out of vice.
    • 65 Metascore
    • 91 Owen Gleiberman
    Moncrieff pushes a view of women as victims that might create its own pornography of masochism if it didn't touch so many authentic shattered nerve endings.
    • 65 Metascore
    • 75 Owen Gleiberman
    Ali
    For everything it gets right, Ali, following its superb first hour, begins to lose the vision, clarity, and structure necessary to bring its hero into full focus.
    • 65 Metascore
    • 67 Owen Gleiberman
    The most entertaining thing about The Runaways, a highly watchable if mostly run-of-the-mill group biopic, is that its writer-director, Floria Sigismondi, has a sixth sense for how the Runaways were bad-angel icons first and a rock & roll band second.
    • 65 Metascore
    • 67 Owen Gleiberman
    Walker forged an out-of-time mystique that is vividly captured here.
    • 65 Metascore
    • 100 Owen Gleiberman
    Searing, powerful, and morally entangled.
    • 65 Metascore
    • 75 Owen Gleiberman
    Salt knows how to stay one step ahead of you in devious, if jaw-droppingly contrived, ways. The movie is fun, dammit. So who cares, really, if it's trash?
    • 65 Metascore
    • 42 Owen Gleiberman
    More and more independent filmmakers seem to be cobbling together characters and scenes that have surface hook and flash without organic emotional logic.
    • 65 Metascore
    • 75 Owen Gleiberman
    The affair itself, in its genteel way, does catch fire, but it's the end of the affair that needs to move us to rapture, and the movie, instead, just drifts away.
    • 65 Metascore
    • 91 Owen Gleiberman
    A crowd-pleaser in the deepest sense, mixes heartbreak and happiness together until you don't even want to see them apart.
    • 65 Metascore
    • 83 Owen Gleiberman
    Basquiat is an engrossing spectacle, but by the end, as a zoned-out Basquiat stands regally in a cruising Jeep, we realize that Schnabel has reconfigured his story as a kind of ghostly myth, and that we've never completely seen the man behind it.
    • 65 Metascore
    • 75 Owen Gleiberman
    Maxed Out, while occasionally muddled in its financial details, presents a more-accurate-than-not vision of a nation that is starting to look like a candidate for rehab, on both an individual and a national level, for its addiction to debt.
    • 65 Metascore
    • 33 Owen Gleiberman
    A brutally monotonous thriller.
    • 65 Metascore
    • 58 Owen Gleiberman
    It doesn't quite wash. Guédiguian has a telling instinct for the buried shame of working-class squalor, but his film is inflated with a doom that feels programmatic rather than earned.
    • 65 Metascore
    • 75 Owen Gleiberman
    The trouble is, nothing about this couple is particularly rooted in Los Angeles. The love affair has a bland, generic feel. What's more, the picture lacks verve.
    • 65 Metascore
    • 100 Owen Gleiberman
    A voyeur's delight.
    • 65 Metascore
    • 91 Owen Gleiberman
    A nimble and supple and moving comedy.
    • 65 Metascore
    • 75 Owen Gleiberman
    A clever rock-world satire, with some lively take-offs on the TMZ-gossip magazine circus, but it's also too long, and by the time of the inevitable Las Vegas sequence, it starts to grow repetitive.
    • 65 Metascore
    • 67 Owen Gleiberman
    The writer-director, Alice Wu, fudges a lot of the basics -- I never believed the heroine was really a physician -- but the final, proudly public girl-on-girl smooch still jerks a tear.
    • 65 Metascore
    • 83 Owen Gleiberman
    It's an enjoyable ramble, with a feel for what made the early days of rock as wild as any that followed.
    • 65 Metascore
    • 75 Owen Gleiberman
    This homicide thriller has a tantalizingly morbid atmosphere of unease.
    • 65 Metascore
    • 67 Owen Gleiberman
    Crooklyn has a warm, nostalgic, spilling-over-the-edges effusiveness that is new to Lee's work. At the same time, the movie often seems every bit as high-strung as the family it's about.
    • 65 Metascore
    • 75 Owen Gleiberman
    An agreeable mischievous romp.
    • 65 Metascore
    • 67 Owen Gleiberman
    Like Orson Welles, Francis Ford Coppola has gone from being the filmmaker of his time to becoming a make-it-up-as-you-go-along indie free-shooter.
    • 65 Metascore
    • 67 Owen Gleiberman
    Unknown White Male is framed as a look at the mystery of identity, but there's a bizarre neutrality to the movie, since it makes Bruce's life just as detached and remote to us as it seems to him.
    • 65 Metascore
    • 83 Owen Gleiberman
    At times too movieish, yet Ashkenazi creates a memorable figure: a spy who operates - admirably - out of the most unyielding nationalist conviction, only to learn that he needs to let some of that conviction go.
    • 65 Metascore
    • 67 Owen Gleiberman
    A truly titillating and truly convoluted tale of l'amour fou. Perhaps the American remake could be titled ''Hot Fudge Ripple Sky.''
    • 65 Metascore
    • 67 Owen Gleiberman
    Little more than a lavish, art-directed slasher movie.
    • 65 Metascore
    • 75 Owen Gleiberman
    Darkman is a thrillingly demented pop spectacular: a grade-B movie made by a grade-A lunatic.
    • 65 Metascore
    • 67 Owen Gleiberman
    Vincent & Theo looks and feels like a half-baked PBS drama, and at two hours and 20 minutes the movie is hopelessly plodding. Still, see it for Roth, whose warts-and-all portrait of Van Gogh is an offbeat triumph.
    • 65 Metascore
    • 50 Owen Gleiberman
    A Soldier's Daughter Never Cries is suffused with a rarefied emotional glow, and that's something contemporary audiences may be almost desperate to respond to. Yet the movie is also tentative, rambling, and maddeningly shapeless.
    • 65 Metascore
    • 91 Owen Gleiberman
    A deft, funny, shrewdly unsettling tribute to such slasher-exploitation thrillers as "Terror Train," "New Year's Evil," and Craven's own "A Nightmare on Elm Street."
    • 65 Metascore
    • 75 Owen Gleiberman
    The atmosphere of gentle communal chaos is authentic enough to become the movie's dramatic center.
    • 65 Metascore
    • 91 Owen Gleiberman
    Branagh, chewing on a plummy Georgia accent, makes the divorced, boozing, and womanizing Magruder a smug yet touchingly vulnerable legal player.
    • 65 Metascore
    • 75 Owen Gleiberman
    It's conventional stuff, only executed with a smart, improv-y verve.
    • 65 Metascore
    • 50 Owen Gleiberman
    As long as Norton plays Harlan as a modern-day Joe Buck, a kind of four-in-the-afternoon cowboy, we're drawn by his waltz of innocence and vagueness. But Down in the Valley turns out to be one of those films with a thick, gummy overlay of Western ''mythology.''
    • 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
    • 75 Owen Gleiberman
    One of the rare movies from Israel that refuses to spell out its politics, and you may wind up grateful for the ambiguity.
    • 64 Metascore
    • 67 Owen Gleiberman
    I can't say that I've ever entertained fantasies of writing on someone's body. But Peter Greenaway's The Pillow Book (Cinepix) does, at least, succeed in making it look like an erotic activity.
    • 64 Metascore
    • 91 Owen Gleiberman
    The movie excoriates the hypocrisy of self-hating gay lawmakers (several of whom it outs), yet it also explores the burden of the public closet.
    • 64 Metascore
    • 100 Owen Gleiberman
    He (Spurlock) takes Comic-Con seriously. He talks to Kevin Smith, Harry Knowles, and other famous grown-up geeks, but mostly he follows a handful of people whose dream it is to pass through the fan/professional looking glass and carve out a place for themselves in the industry of fantasy.
    • 64 Metascore
    • 83 Owen Gleiberman
    Funny and ebullient look at a man in full confusion.
    • 64 Metascore
    • 58 Owen Gleiberman
    Cold Weather becomes the world's first mumblecore "thriller" - a good idea for a movie that someone, in the future, should execute a bit less lackadaisically.
    • 64 Metascore
    • 91 Owen Gleiberman
    Any doubts as to whether Sienna Miller is a gifted actress should be laid to rest by Interview.
    • 64 Metascore
    • 83 Owen Gleiberman
    A breakneck inner-city odyssey of jump-cut shaky-cam suspense.
    • 64 Metascore
    • 75 Owen Gleiberman
    Badly lit and at times, awkwardly inspirational, yet there's real feeling in it, especially when the movie suggests that Tourette's syndrome is every bit as pure an expression of the spirit as it is a ''disorder.''
    • 64 Metascore
    • 50 Owen Gleiberman
    The upshot is that those who appear to be guilty may not be -- a muddled message for our time.
    • 64 Metascore
    • 75 Owen Gleiberman
    A spectacularly turbulent portrait of the chaos and bloodshed that have come to define Haiti.
    • 64 Metascore
    • 83 Owen Gleiberman
    A Better Life was directed by the eclectic Chris Weitz (The Twilight Saga: New Moon, About a Boy), who weaves the torpor and anxiety of immigrant life into something dramatically true, if at moments a bit draggy.
    • 64 Metascore
    • 83 Owen Gleiberman
    The movie, in a sense, is just like Bettie's photos: all glorious surface. The Notorious Bettie Page captures, with seductive finesse, how Bettie Page happened, yet what it leaves us with is the tantalizing enigma of a girl who couldn't truly be ''bad'' because she made sex divinely delicious.
    • 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
    • 75 Owen Gleiberman
    Assayas can't resist turning Demonlover into an overcalculatedly irrational rabbit-hole-to-the-dark-side thriller. The movie morphs into a ''dream,'' all right, but I confess that all I wanted to do was wake up from it and return to the slithery intrigue of corporate depravity.
    • 64 Metascore
    • 42 Owen Gleiberman
    Sokurov's new companion piece (to "Mother and Son"), has the tedium without the trance.
    • 64 Metascore
    • 75 Owen Gleiberman
    Moses was elevating mankind to a place closer to God, but when the Red Sea parts here, the feeling it gives you isn't awe; it's closer to deep impact.
    • 64 Metascore
    • 67 Owen Gleiberman
    Dense, meandering, ambitious yet jarringly pulpy, this tale of big-city corruption in small-town America has competence without mood or power -- a design but not a vision.
    • 64 Metascore
    • 67 Owen Gleiberman
    Scene for scene, the duo are in good form. Yet this is one case where more turns out to be less.
    • 64 Metascore
    • 67 Owen Gleiberman
    He can barely skate, but it hardly matters: As a goon, he's a genius.
    • 64 Metascore
    • 83 Owen Gleiberman
    The Truth About Cats & Dogs is very funny around the edges... but as the characters begin to hang out together, forming a platonic menage a trois, the mistaken-identity ruse never escalates into true screwball lunacy.
    • 64 Metascore
    • 83 Owen Gleiberman
    It's a beautiful and understated performance, one that hums with a richer, quieter music than Smith has mustered before.
    • 64 Metascore
    • 75 Owen Gleiberman
    A deft Stephen King freak-out.
    • 64 Metascore
    • 42 Owen Gleiberman
    A turgid muddle of romance, espionage, and geek valor, despite intimations that it might have turned into ''A Reasonably Dapper-Looking Mind.''
    • 64 Metascore
    • 58 Owen Gleiberman
    A unintentionally funny fanzine-flavored documentary.
    • 64 Metascore
    • 83 Owen Gleiberman
    Harold and Kumar share a quality the overgrown adolescents in films like this are never allowed to possess: They're witty, focused, and highly aware. They make having a brain look hip.
    • 64 Metascore
    • 67 Owen Gleiberman
    Che
    As political theater, Che moves from faith to impotence, which is certainly a valid reading of Communism in the 20th century. Yet as drama, that makes the second half of the film borderline deadly.
    • 64 Metascore
    • 91 Owen Gleiberman
    The baby-voiced costar of "Chasing Amy" proves an effortless filmmaker, turning Lucy’s journey into the awakening of a soul.
    • 64 Metascore
    • 67 Owen Gleiberman
    Clever and smooth, yet, like Angèle herself (or Nathalie Baye), the film is almost too placid for its own good.
    • 64 Metascore
    • 91 Owen Gleiberman
    Funny, pungent, and weirdly gripping.
    • 64 Metascore
    • 50 Owen Gleiberman
    Living Out Loud is like "An Unmarried Woman" recast as a sitcom-cute update of Marty.
    • 64 Metascore
    • 75 Owen Gleiberman
    I was amused more or less throughout by the ingeniously designed and executed stunt that is Team America.
    • 64 Metascore
    • 25 Owen Gleiberman
    Inert dud of a hitmen-are-people-too comedy.
    • 64 Metascore
    • 100 Owen Gleiberman
    Killing them Softly is a lurid and nasty little nihilistic hitman noir, with an ingenuity that sneaks up on you.
    • 64 Metascore
    • 75 Owen Gleiberman
    The one performer who seems at home with the gravity of it all is Emma Thompson.
    • 64 Metascore
    • 50 Owen Gleiberman
    Chabrol has fashioned a mystery that caves in on itself, but unfortunately, it caves in on the audience, too.
    • 64 Metascore
    • 50 Owen Gleiberman
    This rotely cheeky, Anglo-plastic adultery comedy is set in the golden-green English countryside, and it makes a few quirky nods toward artistry, but it's really just a glib concoction.
    • 64 Metascore
    • 83 Owen Gleiberman
    The Young Victoria has a subtler flow than you might expect, and at times it's calmer than you may like. Director Jean-Marc Vallée's images have a creamy stateliness, but this is no gilded? princess fantasy.
    • 64 Metascore
    • 67 Owen Gleiberman
    There's enough foreboding in America right now to make sitting through a movie such as The Road seem like one more heavy burden that, frankly, no one needs.
    • 64 Metascore
    • 83 Owen Gleiberman
    The movie has a mystery, and moral unease, that lingers.
    • 64 Metascore
    • 100 Owen Gleiberman
    Nimble, engrossing, and journalistically eye-opening, a movie that pulls into focus 30 years of porn in America. It also pulls no punches.
    • 64 Metascore
    • 58 Owen Gleiberman
    Here's one case where it's no praise to say that a movie leaves you with more questions than answers.
    • 64 Metascore
    • 75 Owen Gleiberman
    To me, the most potent dimension of The U.S. vs. John Lennon is the way that it captures the contradictory romanticism of Lennon the radical.
    • 64 Metascore
    • 83 Owen Gleiberman
    Lurie hits closer to the bone here than he did in his ham-handed "The Contender" (2000).
    • 64 Metascore
    • 83 Owen Gleiberman
    Harper Lee hasn't been interviewed in 47 years, but this meditation on her only novel, "To Kill a Mockingbird," puts you inside her skin.
    • 64 Metascore
    • 83 Owen Gleiberman
    Is it really possible to make a comedy about abortion? Alexander Payne, who cowrote and directed this mischievous bit of sociological screwball, has brought it off.
    • 64 Metascore
    • 67 Owen Gleiberman
    Blades of Glory has funny moves even when its characters can barely move, but the film seldom gets past its one basic laugh: that a real man figure-skating is a contradiction in terms.
    • 64 Metascore
    • 91 Owen Gleiberman
    Spins a thorny tale of political corruption laced with personal sleaze.
    • 64 Metascore
    • 75 Owen Gleiberman
    It ends up subverting its own subversion, arriving at a place that can only be called conventional.
    • 64 Metascore
    • 67 Owen Gleiberman
    A throwback to the age when Westerns were quaint.
    • 64 Metascore
    • 50 Owen Gleiberman
    When the film version isn't assaulting you with gizmos, it's an awkward, depersonalized piece of hackwork.
    • 64 Metascore
    • 58 Owen Gleiberman
    A celebration of the theater that tends to drag the moment it's out of drag.
    • 64 Metascore
    • 91 Owen Gleiberman
    It's a comedy of manhood for the age of emasculation.
    • 64 Metascore
    • 83 Owen Gleiberman
    Turns into a lyrical and stirring meditation on the mystery of autism.
    • 64 Metascore
    • 67 Owen Gleiberman
    In Proof, Paltrow plays yet another young woman who is being gnawed at by termites of instability, only this time out, her performance, rather than startling, is merely competent: earnest and overly familiar.
    • 64 Metascore
    • 42 Owen Gleiberman
    Has the taint of exploitation.
    • 64 Metascore
    • 75 Owen Gleiberman
    A bright, whirling pinwheel of a movie that tosses around special effects like confetti, but the techno magic is graced with a touch of sensuality.