Owen Gleiberman

Select another critic »
For 2,622 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 3.8 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Kid Stays in the Picture
Lowest review score: 0 From Justin to Kelly
Score distribution:
2622 movie reviews
    • 61 Metascore
    • 58 Owen Gleiberman
    The drama is so minimalist that it's hard to glimpse the man behind the woe.
    • 42 Metascore
    • 58 Owen Gleiberman
    Amusing in its very shallowness.
    • 29 Metascore
    • 58 Owen Gleiberman
    Mostly preposterous, and it has no dramatic center, but the racing scenes hold you in their death-trip grip.
    • 71 Metascore
    • 58 Owen Gleiberman
    Little Man Tate keeps introducing characters and narrative lines that seem promising, but it doesn’t sustain them. The movie feels like three Afterschool Specials welded together.
    • 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.
    • 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.
    • 53 Metascore
    • 58 Owen Gleiberman
    We Are Marshall has little of the bone-crunchingsincerity of the recent pigskin rouser "Invincible." This one is more like Unconvincing.
    • 32 Metascore
    • 58 Owen Gleiberman
    A boxing film with no conflictual punch.
    • 59 Metascore
    • 58 Owen Gleiberman
    Déjà Vu is watchable trash, meticulously edited in Scott's skip-stutter style, but there's something ultimately unsatisfying about a thriller that more or less makes up its rules as it goes along.
    • 56 Metascore
    • 58 Owen Gleiberman
    Fitfully amusing, mostly annoying rom-com.
    • 51 Metascore
    • 58 Owen Gleiberman
    It's tempting to say that Mamma Mia! has the worst choreography of any big-screen musical in history, though that would imply that what happens in the film IS choreography.
    • 73 Metascore
    • 58 Owen Gleiberman
    Sweet, flaky, and more than a little aimless.
    • 18 Metascore
    • 58 Owen Gleiberman
    A watchable bad movie, but it's far from your typical cookie-cutter blockbuster. There are no shoot-outs or car chases, and there isn't much romantic suspense, either.
    • 57 Metascore
    • 58 Owen Gleiberman
    It might have helped had the film included a few more representatives of the straight world. As it is, there’s almost nothing for the family to play off. We’re shut up in that mansion right along with them, and the kookiness grows fatally quaint.
    • 61 Metascore
    • 58 Owen Gleiberman
    In a strange way the Williamson of "Dawson's Creek" is now at odds with the sophisticated joker who wrote "Scream."
    • 58 Metascore
    • 58 Owen Gleiberman
    The First Wives Club has all the conviction a comedy of female vengeance needs. But as soon as the dumb plot takes over, the wit leaks out of the movie like helium from a balloon.
    • 38 Metascore
    • 58 Owen Gleiberman
    The gruesomely unnecessary remake of The Texas Chainsaw Massacre is such a smorgasbord of slimy grunge that to call the movie gross wouldn't do it justice -- it's downright sticky.
    • 56 Metascore
    • 58 Owen Gleiberman
    The Mask, a rattletrap Jekyll-and-Hyde farce, surrounds Carrey with a nothing plot and a cast of ciphers. Still, his scenes as the Mask are rowdy and enjoyable.
    • 44 Metascore
    • 58 Owen Gleiberman
    Basically, it's "The A-Team" meets "Rambo" meets "Mission: Impossible," with a mission that's one part trickiness, four parts blowing stuff up.
    • 49 Metascore
    • 58 Owen Gleiberman
    A fake street drama that keeps telling you things instead of showing them, though Mekhi Phifer, playing a hustler who loves the life, is electric and true.
    • 59 Metascore
    • 58 Owen Gleiberman
    In ''Ordinary People,'' at least one character -- Mary Tyler Moore's -- had to fall so that the others could survive. In Moonlight Mile, no one gets shut out of the hug cycle.
    • 41 Metascore
    • 58 Owen Gleiberman
    A tawdry excuse for a movie, but it has a handful of shameless giggles.
    • 47 Metascore
    • 58 Owen Gleiberman
    27 Dresses is a movie geared to a pitch of high matrimonial-princess fever.
    • 66 Metascore
    • 58 Owen Gleiberman
    Andy Garcia reminds you of what a cunning, likable actor he can be.
    • 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.
    • 50 Metascore
    • 58 Owen Gleiberman
    And when [Roberts is] on screen with Mulroney, who seems a frat-house jerk -- all dimples and a perma-tan -- we don't feel much of anything.
    • 44 Metascore
    • 58 Owen Gleiberman
    In My Country doesn't so much explore as use the tragedy of black South Africa to give its heroine a righteous slap of nobility.
    • 69 Metascore
    • 58 Owen Gleiberman
    It's all way too heavy-handed, though nicely acted by Hirsch, Culkin, and, especially, Jena Malone.
    • 56 Metascore
    • 58 Owen Gleiberman
    The sexy, scruffy, neo-Warriors pageantry of ghetto teen hunger would have been a lot more vital if Clark didn't have such a class-war chip on his shoulder.
    • 61 Metascore
    • 58 Owen Gleiberman
    Couldn't Mike Judge, with his acid wit, have come up with a better title for a suburban-schlub comedy than ?Extract?

Top Trailers