Owen Gleiberman

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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 Our Song
Lowest review score: 0 I Woke Up Early the Day I Died
Score distribution:
2622 movie reviews
    • 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.
    • 39 Metascore
    • 50 Owen Gleiberman
    The Lucky One doesn't have the schlock rapture of "The Notebook" (the one Sparks adaptation that has really worked). The trouble with the movie isn't that it's too girly-swoony; it's that it tries to achieve emotion through glowy sunsets and a paint-by-numbers script.
    • 19 Metascore
    • 50 Owen Gleiberman
    Has the look of a great fairy tale -- all that's missing is the tale.
    • 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.''
    • 62 Metascore
    • 50 Owen Gleiberman
    Has the dubious distinction of being just about the mildest porno comedy ever made. It's like something the teenage Pedro Almodóvar might have written to shock his 10th-grade creative writing teacher.
    • 56 Metascore
    • 50 Owen Gleiberman
    In Storks, the jokes fall flat, but the pace is relentless, and those two things seem somehow intertwined, as if the filmmakers had convinced themselves that comedy that whips by fast enough won’t go thud.
    • 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.
    • 73 Metascore
    • 50 Owen Gleiberman
    The animation in Lilo & Stitch has an engaging retro-simple vivacity, and it's nice to see a movie for tots make use of Elvis Presley, but the story is witless and oddly defanged.
    • 24 Metascore
    • 50 Owen Gleiberman
    The umpteenth recycled shocker about a mystical dark child with an aura of disaster.
    • 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.
    • 31 Metascore
    • 50 Owen Gleiberman
    A genially cruddy B movie can sometimes go places - sort of - that bigger movies won't.
    • 56 Metascore
    • 50 Owen Gleiberman
    Michael Moore In TrumpLand turns out to be a tossed hand grenade that doesn’t fully detonate.
    • 55 Metascore
    • 50 Owen Gleiberman
    The trouble with The Truth About Charlie is that it really is after the truth about Charlie, a character we could hardly give a damn about. The only charade is the illusion that we might actually be entertained.
    • 43 Metascore
    • 50 Owen Gleiberman
    When we finally do see what happened, it's a genuine shock, a nightmare vision of a hedonist who forged his own hell.
    • 53 Metascore
    • 50 Owen Gleiberman
    A feel-good movie that never stops feeling good. The film is based on a true story (it was adapted from a nonfiction best-seller by Michael Lewis), but you never feel that Hancock has honestly captured what's true about it.
    • 49 Metascore
    • 50 Owen Gleiberman
    As it is, The Mechanic is ham-fisted pulp, like Robert Rodriguez's "Machete" taking itself seriously.
    • 44 Metascore
    • 50 Owen Gleiberman
    The film, devising events that led up to his mysterious death in 1849, is also the most gruesomely literal-minded of period detective stories.
    • 49 Metascore
    • 50 Owen Gleiberman
    Far and Away looks like an epic, but it lacks flavor and texture. It's so predigested there's nothing left to chew on.
    • 37 Metascore
    • 50 Owen Gleiberman
    The journey, however, is a hollow one, since Quaid and Stone, for all their efforts, never really do seem married. Perhaps that's because Stone, with her dry-ice charisma, does everything that an actress should except connect to whomever she happens to be facing on screen.
    • 48 Metascore
    • 50 Owen Gleiberman
    Titan A.E. is ''Star Wars'' pulped and mashed into flavorless kiddie corn.
    • 57 Metascore
    • 50 Owen Gleiberman
    The trouble isn’t that Greenwald is preaching to the choir; a good documentary can increase the passion of the choir. It’s that he isn’t adding in any meaningful way to the choir’s knowledge.
    • 59 Metascore
    • 50 Owen Gleiberman
    One of those raucous, hyperactive kiddie flicks that knocks you upside the head from its opening frame.
    • 43 Metascore
    • 50 Owen Gleiberman
    This one is somberly kinetic and joyless.
    • 31 Metascore
    • 50 Owen Gleiberman
    A self-righteous mishmash that can't decide whether to be a tribute to the fanatical leftist passion that thrives in college towns, an indictment of that very same fanaticism, or a ghoulishly didactic snuff-video thriller.
    • 37 Metascore
    • 50 Owen Gleiberman
    Displays no ambition to be anything more than a synthetic sense-jolt conveyor of the week.
    • 52 Metascore
    • 50 Owen Gleiberman
    The movie is intelligent yet lifeless; it's all wisps and abstractions.
    • 55 Metascore
    • 50 Owen Gleiberman
    What in the Buddha's name is going on in I Heart Huckabees? Russell has come up with a grab bag of ideas that don't stick with you because they don't stick together.
    • 62 Metascore
    • 50 Owen Gleiberman
    Mostly a mess: toothless when it should be nasty, not so much madcap as merely frantic.
    • 74 Metascore
    • 50 Owen Gleiberman
    At once spectacular and inert -- a mosaic impersonating a movie; an empty-shell epic.

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