Owen Gleiberman

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For 2,634 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 3.7 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The King of Kong: A Fistful of Quarters
Lowest review score: 0 I Know Who Killed Me
Score distribution:
2634 movie reviews
    • 61 Metascore
    • 60 Owen Gleiberman
    The movie is murky and disjointed, held together not so much by what happens as by a vague atmosphere of obsession.
    • 66 Metascore
    • 60 Owen Gleiberman
    Blood Father is trash, but it does capture what an accomplished and winning actor Mel Gibson can be. Just because he lost his bearings, and his career, doesn’t mean that he lost his talent.
    • 62 Metascore
    • 60 Owen Gleiberman
    It’s dutiful, but it’s also superficial and polite, and it commits the genteel sin of the old biopics: It turns its hero into a plaster saint.
    • 57 Metascore
    • 60 Owen Gleiberman
    Victoria & Abdul is a pleasant enough entertainment, and it will bring the inevitable awards chatter Dench’s way (is her acting ever less than pinpoint? Never). But as prestige period pieces go, it’s far from top-drawer (more like second drawer, or even third), because its cozy lack of enlightenment is echoed in the standard but far from scintillating play of its drama.
    • 50 Metascore
    • 60 Owen Gleiberman
    Going in Style coasts along on the testy spiky charms of its leading men, who have 246 years of life on earth between them (Caine is 84, Freeman 79, and Arkin 83), but it’s nothing more than an amiable connect-the-dots movie.
    • 68 Metascore
    • 60 Owen Gleiberman
    Voyage of Time has too many spellbinding images to count, but as a movie it’s just okay.
    • 38 Metascore
    • 60 Owen Gleiberman
    Comprehensive but sketchy, richly atmospheric but often under-dramatized, it is not, in the end, a very good movie.... Yet it’s highly worth seeing, because in its volatility and hunger, and the desperation of its violence, it captures something about the space in which Tupac Shakur lived.
    • 43 Metascore
    • 60 Owen Gleiberman
    The movie gives us bits and pieces of drama, but in a larger way it doesn’t invite us in.
    • 68 Metascore
    • 60 Owen Gleiberman
    I Am Heath Ledger is a catchy and seductive portrait of an extraordinary artist, but it leaves you wanting more, because you know it’s not close to being all of Heath Ledger.
    • 69 Metascore
    • 60 Owen Gleiberman
    Captain Underpants isn’t out to be more than a trifle; that’s part of its appeal. It’s not so much potty-mouthed as it is a potty-minded kiddie burlesque, one that finds the supreme innocence in naughtiness.
    • 73 Metascore
    • 60 Owen Gleiberman
    It’s fine — and true enough to Marvel — to make a “Spider-Man” movie about a young adult, but Spider-Man: Homecoming has an aggressively eager and prosaic YA flavor.
    • 54 Metascore
    • 60 Owen Gleiberman
    Gets the job done, but it’s hard to escape the feeling that you’re watching a routinely conceived, rather generic boxing flick. It’s utterly competent, yet it makes Duran’s story seem a little so-what?
    • 69 Metascore
    • 60 Owen Gleiberman
    There’s a better, tighter, more emotionally focused movie hidden somewhere in the sprawl of “I Love You, Daddy.” It’s a movie that’s just as rude, funny, and observant as this one but that doesn’t tie itself in knots trying to “say” something.
    • 40 Metascore
    • 60 Owen Gleiberman
    Watching MacLaine’s Harriet embrace her life, after spending too much time rejecting it, leads The Last Word to a touching finish. MacLaine has something that shines through and elevates a film like this one. The movie is prefab indie whimsy, but she gives it an afterglow.
    • 64 Metascore
    • 60 Owen Gleiberman
    It has a few traumatic and bedazzling scenes of combat, but mostly it’s about the backroom bureaucratic gamesmanship of war.
    • 28 Metascore
    • 60 Owen Gleiberman
    For the first time, the messy hyperactive form and nihilistic crunched-metal content seem to reinforce each other.
    • 64 Metascore
    • 60 Owen Gleiberman
    A dutiful and diverting but rather bare-bones documentary portrait.
    • 49 Metascore
    • 60 Owen Gleiberman
    The film is sharply written and crafted, lavishly photographed, impeccably acted, with lots of twists and turns — yet for all that, it somehow lacks zing.
    • 77 Metascore
    • 60 Owen Gleiberman
    Coppola, in attempting to elevate the material, doesn’t seem to realize that The Beguiled is, and always was, a pulp psychodrama. Now it’s pulp with the juice squeezed out of it.
    • 34 Metascore
    • 60 Owen Gleiberman
    An amiable time-killer of an espionage comedy.
    • 79 Metascore
    • 60 Owen Gleiberman
    Fences has passages of fierce and moving power, but on screen the play comes off as episodic and more than a bit unwieldy.
    • 35 Metascore
    • 60 Owen Gleiberman
    It’s a prosaic piece of muckraking, shot in a functional flat visual style, but it grazes a nerve.
    • 72 Metascore
    • 60 Owen Gleiberman
    Ostlund, at his best, is a heady and enthralling filmmaker, but unfortunately, he has so much on his mind that he is also, at his weakest, a shapeless and didactic one.
    • 74 Metascore
    • 60 Owen Gleiberman
    Its dread has no resonance; it’s a hermetically sealed creep-out that turns into a fake-trippy experience. By all means, go to mother! and enjoy its roller-coaster-of-weird exhibitionism. But be afraid, very afraid, only if you’re hoping to see a movie that’s as honestly disquieting as it is showy.
    • 64 Metascore
    • 60 Owen Gleiberman
    The movie, watchable as it is, never quite overcomes the sense that it’s a lavish diagram working hard to come off as a real movie.
    • 61 Metascore
    • 60 Owen Gleiberman
    It isn’t bad, but it’s kind of a trifle. Though it treats its themes with reasonable honesty, it can’t help but come off as a bit diagrammed.
    • 70 Metascore
    • 60 Owen Gleiberman
    The movie, despite enthralling moments, is so self-intoxicated by its blissed-out vision of global healing that it’s a little soft.
    • 90 Metascore
    • 60 Owen Gleiberman
    Paterson, Jarmusch’s wee dramatic curio starring Adam Driver as a New Jersey bus driver – his name is Paterson, and he lives in Paterson — is a movie that’s all too aware of how much it diverges from contemporary tempo. That’s because the entire film is a self-conscious anachronism.
    • 50 Metascore
    • 60 Owen Gleiberman
    The Boss Baby, the jokey new 3D animated lark from DreamWorks Animation (it’s being distributed by 20th Century Fox), is a visually brisk, occasionally clever low-concept comedy that’s also trying, half-heartedly, to be some sort of Pixarish masterpiece. You may wind up wishing that it had been one or the other.
    • 66 Metascore
    • 60 Owen Gleiberman
    What do you call a movie about a midlife non-crisis? How about tame, competent, mildly touching, and a little dull — except for Catherine Deneuve's fearless turn as a boozing, ailing wreck.

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