Owen Gleiberman

Select another critic »
For 2,708 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 3.4 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Speed
Lowest review score: 0 The Host
Score distribution:
2708 movie reviews
    • 51 Metascore
    • 58 Owen Gleiberman
    This is how a fairy-tale movie gives us our money's worth today. Even if once upon a time, it was called overkill.
    • 33 Metascore
    • 58 Owen Gleiberman
    A splattery futuristic zombie thriller, designed as a jolt-a-minute freakout for young audiences who were numbed into submission long ago.
    • 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.
    • 55 Metascore
    • 58 Owen Gleiberman
    I didn't mind The Terminal, but I didn't really buy it, either. Spielberg has crafted the film with a proficiency as seamless, and impersonal, as the setting, and you may feel, after a while, that you're longing for your departure time.
    • 46 Metascore
    • 58 Owen Gleiberman
    What starts off as a neighborhood scandal becomes a liberating thing for everyone involved - an attitude that seems as if it's trying to be oh so European, and might have been had the director, Julian Farino, not been working so hard to convince us of the Deep Inner Goodness of everyone involved.
    • 55 Metascore
    • 58 Owen Gleiberman
    Rendition certainly makes the case that torture, whatever name it goes under, is indefensible, yet one can agree with that view entirely and still feel that the movie is just a borderline exploitation of what anyone who reads the papers already knows.
    • 44 Metascore
    • 58 Owen Gleiberman
    Too arty by half.
    • 39 Metascore
    • 58 Owen Gleiberman
    Reynolds makes Hal a perfectly functional comic-book hero, but there's a big difference between functional and super.
    • 54 Metascore
    • 58 Owen Gleiberman
    Dare, a sweetly sexed-up high school triangle movie, is like a John Hughes comedy trying to pass itself off as ''transgressive.''
    • 35 Metascore
    • 58 Owen Gleiberman
    A dismayingly impersonal piece of anime, genial yet chaotic.
    • 50 Metascore
    • 58 Owen Gleiberman
    Propulsively outandish thriller.
    • 54 Metascore
    • 58 Owen Gleiberman
    Volatile yet fairly lunkheaded.
    • 54 Metascore
    • 58 Owen Gleiberman
    Bobby coasts along on a dread, and sorrow, it doesn't earn.
    • 28 Metascore
    • 58 Owen Gleiberman
    The Ugly Truth isn't fizzy and fun -- it's vacuously snappy.
    • 71 Metascore
    • 58 Owen Gleiberman
    Elegant yet surprisingly remote royal-court drama.
    • 47 Metascore
    • 58 Owen Gleiberman
    Makes you wish that Newell and company had had the gumption to finish what they so enticingly started.
    • 56 Metascore
    • 58 Owen Gleiberman
    Quick Change starts out fast and loose — it gets the audience primed for a ripsnorting caper comedy. Yet almost nothing that follows is as clever, as surprising, or as casually anarchic as that nifty opening sequence. Murray himself served as codirector, and though he doesn't do anything terribly wrong, the movie lacks comic zest.
    • 64 Metascore
    • 58 Owen Gleiberman
    A unintentionally funny fanzine-flavored documentary.
    • 37 Metascore
    • 58 Owen Gleiberman
    Nothing but mood... it simply has too few surprises to justify its indulgent atmosphere of malignant revelation.
    • 49 Metascore
    • 58 Owen Gleiberman
    People Like Us demonstrates how a drama can be heartfelt and bogus at the same time.
    • 40 Metascore
    • 58 Owen Gleiberman
    Vantage Point starts to slide off the rails when it tracks a tourist (Forest Whitaker) and his trusty camcorder; instead of Zapruder-like intrigue, the episode has him running around like an agent in a rote thriller.
    • 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.
    • 35 Metascore
    • 58 Owen Gleiberman
    The movie could have been a lot scarier.
    • 30 Metascore
    • 58 Owen Gleiberman
    This comedy about a couple who can't get pregnant is stuck between Judd Apatow's humane raunchiness and the American Pie series' smirky broadness.
    • 39 Metascore
    • 58 Owen Gleiberman
    Most of the film is a chintzy but watchable B-movie knockoff of "Gladiator," with Kit Harington, the English actor from "Game of Thrones," mustering very little in the way of facial expressivity in the role of Milo.
    • 54 Metascore
    • 58 Owen Gleiberman
    There are moments of lewd hilarity, like a game of footsie that turns genderifically confused. But Booty Call loses its dirty-minded, how-low-will-they-go-to-get-laid edge when the boys venture out into the New York night to buy condoms.
    • 54 Metascore
    • 58 Owen Gleiberman
    The folly of Blue Chips is that the film makes this greased-palm corruption seem an even bigger sin than it is. (It's like a political drama made by someone who is shocked, shocked at the sleaze of campaign financing.)
    • 56 Metascore
    • 58 Owen Gleiberman
    In the Land of Blood and Honey captures the sickening way the war in Bosnia became a gray zone of genocide. Yet that, unfortunately, is not enough to make it a good movie.
    • 56 Metascore
    • 58 Owen Gleiberman
    As the school drama teacher who tries to unlock ''the real,'' Patricia Clarkson makes high theatrical solemnity funny.
    • 32 Metascore
    • 58 Owen Gleiberman
    There are some clever and exciting sequences, but this $120 million epic of reconstituted Atomic Age trash lumbers more than it thrills.

Top Trailers