Owen Gleiberman

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For 2,461 reviews, this critic has graded:
  • 66% higher than the average critic
  • 2% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 4.5 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 L.A. Confidential
Lowest review score: 0 The First $20 Million Is Always the Hardest
Score distribution:
2461 movie reviews
    • 58 Metascore
    • 50 Owen Gleiberman
    As a fairy-tale confection, a kind of West Side Story in Jamestown, Pocahontas is pleasant to look at, and it will probably satisfy very small kiddies, but it's the first of the new-era Disney cartoons that feels less than animated.
    • 49 Metascore
    • 50 Owen Gleiberman
    But when it comes to that great puppy pilgrimage, the movie, which was written and produced by John Hughes, falls astoundingly flat.
    • 31 Metascore
    • 50 Owen Gleiberman
    A genially cruddy B movie can sometimes go places - sort of - that bigger movies won't.
    • 36 Metascore
    • 50 Owen Gleiberman
    Theron is an arresting image, but, like everything else in Aeon Flux, she's stranded in a trashy and derivative glum zone of fashion-runway fascism.
    • 71 Metascore
    • 50 Owen Gleiberman
    This makes for a friendly romp, and also a dull one.
    • 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.
    • 47 Metascore
    • 50 Owen Gleiberman
    Wearing a brush cut that never fits the role, Carrey doesn't do a lot here besides flash those vampire-nerd teeth, and I grew weary of seeing them.
    • 35 Metascore
    • 50 Owen Gleiberman
    Indecent Proposal starts out kinky and turns into a languid-and shockingly banal- domestic soap opera.
    • 72 Metascore
    • 50 Owen Gleiberman
    The movie is so prefab, so plastically aware of being ''corny,'' ''romantic,'' and ''old-fashioned,'' that it feels programmed to make you fall in love with it.
    • 59 Metascore
    • 50 Owen Gleiberman
    One of those raucous, hyperactive kiddie flicks that knocks you upside the head from its opening frame.
    • 63 Metascore
    • 50 Owen Gleiberman
    It would be hard to imagine a filmmaking style as serious yet lazy as the earnest vérité bobbing and weaving employed by La Petite Jérusalem.
    • 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.
    • 45 Metascore
    • 50 Owen Gleiberman
    As an actress, Bynes is wholesome to a fault. She impersonates a teenage boy yet never gives him one good dirty thought.
    • 74 Metascore
    • 50 Owen Gleiberman
    If Take My Eyes explored how a woman could still feel for a man who abused her, it might have gripped us with its difficult truths. But the movie presents Pilar and Antonio's marriage as a stale, neurotic dead end.
    • 41 Metascore
    • 50 Owen Gleiberman
    Thorogood allegedly confessed on his deathbed (in 1993) that he killed Jones, and while the movie convinces us that this might have happened, it never truly reveals who Brian Jones was before he fell apart. His indulgence, and his demise, play out in a void.
    • 40 Metascore
    • 50 Owen Gleiberman
    Really, about all that unifies the movie is its inclination to turn little people's dreams into limply ''affectionate'' camp.
    • 47 Metascore
    • 50 Owen Gleiberman
    Lifting a concept isn't exactly foreign to the world of animation (what's "The Lion King" if not "Bambi" with manes?), but it isn't often a rip-off gets as blatant as The Wild, a flat-out regurgitation of "Madagascar."
    • 41 Metascore
    • 50 Owen Gleiberman
    You could dismiss this swankily shot Latin American trifle as an upscale soap opera, but that would be an insult to soap operas.
    • 47 Metascore
    • 50 Owen Gleiberman
    Though the filmmaker's feel for his Cuban heritage is bone-deep, it's a glazed and dolorous movie - a depressed epic.
    • 77 Metascore
    • 50 Owen Gleiberman
    The movie takes the form of a lackluster women's-prison picture.
    • 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.''
    • 61 Metascore
    • 50 Owen Gleiberman
    The trouble with Giuliani Time is that Keating, as a filmmaker, wants to give power to the people but in his every perception he takes it away from them.
    • 58 Metascore
    • 50 Owen Gleiberman
    Just about the only way to make sense of the film is to view its Christian family the way that the director, James Marsh, does -- with a contempt masquerading as social criticism. William Hurt, for one, deserves better.
    • 45 Metascore
    • 50 Owen Gleiberman
    The best bits are incidental: Vaughn's chats with Jon Favreau as his bartender buddy, which are delightful interludes of jostling ego, and Judy Davis, looking like Anna Wintour redesigned by Tim Burton as an undead marionette, laying down the law as Aniston's boss.
    • 45 Metascore
    • 50 Owen Gleiberman
    Bacon instinctively pushes Loverboy toward surreal domestic satire. It's fascinating to watch Sedgwick try to make Emily into a luminous wack job.
    • 52 Metascore
    • 50 Owen Gleiberman
    Takes a misguided swerve into the current downtown New York rock scene, so that it can spend more time preaching about the anarchy of the good old days than it does revealing them.
    • 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.
    • 71 Metascore
    • 50 Owen Gleiberman
    It's too bad that the film was directed by the Norwegian minimalist Bent Hamer (Kitchen Stories), who makes a fetish of building scenes around silence.
    • 52 Metascore
    • 50 Owen Gleiberman
    Parades itself as an ''honest'' message movie, a call for troubled kids to choose life over street nihilism, but the picture is so earnest that it leaves out the easy, old-school pleasure conjured by the last few years of Disney sports flicks (Invincible, Miracle, The Rookie).
    • 60 Metascore
    • 50 Owen Gleiberman
    For This Boy's Life to work as ominous domestic drama, it's essential that we see Dwight as a flesh-and-blood monster. De Niro, unfortunately, just seems to be reveling in the chance to play another viciously demented freak, like Cape Fear's Max Cady.

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