Owen Gleiberman
Select another critic »
For 2,347 reviews, this critic has graded:
  • 67% higher than the average critic
  • 2% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 6.3 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The School of Rock
Lowest review score: 0 All the Queen's Men
Score distribution:
2,347 movie reviews
    • 75 Metascore
    • 83 Owen Gleiberman
    Has a bright, dishy spirit.
    • 64 Metascore
    • 83 Owen Gleiberman
    The Truth About Cats & Dogs is very funny around the edges... but as the characters begin to hang out together, forming a platonic menage a trois, the mistaken-identity ruse never escalates into true screwball lunacy.
    • 66 Metascore
    • 83 Owen Gleiberman
    The Prestige isn't art, but it reaps a lot of fun out of the question, How did they do that?
    • 63 Metascore
    • 83 Owen Gleiberman
    Hamilton, in her movie debut, is a find: the kinkstress next door.
    • 55 Metascore
    • 83 Owen Gleiberman
    A rousingly square romantic epic spiced with dashes of sex and bloodlust; it's "Robin Hood" meets "The Last of the Mohicans" meets "Death Wish".
    • 77 Metascore
    • 83 Owen Gleiberman
    Through it all, Natalie Maines' decision to shirk humility, to stick by her guns, to the point that the group returns to that London concert venue in 2006 and she utters the same joke again, becomes a feisty and inspiring act of something there is only one word for: patriotism.
    • 49 Metascore
    • 83 Owen Gleiberman
    The movie IS a provocation, but not a glib or ideologically myopic one.
    • 74 Metascore
    • 83 Owen Gleiberman
    Flushed Away lacks the action-contraption dottiness of a Wallace and Gromit adventure, but it hits its own sweet spot of demented delight.
    • 76 Metascore
    • 83 Owen Gleiberman
    Dreamgirls is the rare movie musical with real rapture in it.
    • 71 Metascore
    • 83 Owen Gleiberman
    After a lifetime of flogging the demons of cosmic despair, Ingmar Bergman, at 88, comes off as lean and vigorous in this fascinating memoir-interview.
    • 64 Metascore
    • 83 Owen Gleiberman
    It's a beautiful and understated performance, one that hums with a richer, quieter music than Smith has mustered before.
    • 55 Metascore
    • 83 Owen Gleiberman
    Pride doesn't have much surprise, but it's a formula picture of genuine feeling.
    • 72 Metascore
    • 83 Owen Gleiberman
    When C-Diddy (a.k.a. David Jung), in his samurai superman suit, does his note-perfect, lip-twisting, belly-jiggling manic mime of Extreme's ''Play With Me,'' it's hard not to grin and admit that, yes, this is almost an art form.
    • 58 Metascore
    • 83 Owen Gleiberman
    First Snow is essentially a short story with a metaphysical twist, but Pearce puts his fears more up front than any actor I can think of.
    • 68 Metascore
    • 83 Owen Gleiberman
    Fracture is working on us, playing us, but that's its pleasure. It makes overwrought manipulation seem more than a basic instinct.
    • 55 Metascore
    • 83 Owen Gleiberman
    The film knows how absurd this is, yet its triumph is that, by the end, we're actually rooting for Mary to see the library as her salvation.
    • 58 Metascore
    • 83 Owen Gleiberman
    The movie, like the book, is a work of opportunistic gamesmanship, a luridly farfetched conspiracy thriller masquerading as an inquiry into the zeitgeist. You can't take Disclosure very seriously, yet the film has been made with cleverness and skill, and with a keen eye for the latest styles in corporate paranoia and ruthlessness.
    • 67 Metascore
    • 83 Owen Gleiberman
    Steel City could have used more rhythmic drive, but if Jun keeps weaving together characters this compelling, he could be a major film artist in the making.
    • 66 Metascore
    • 83 Owen Gleiberman
    Hurtling and impassioned, driven by some of the greatest popular music ever recorded, this wildly overripe and unkempt biopic is a true experience.
    • 63 Metascore
    • 83 Owen Gleiberman
    Vitus, a fizzy domestic fairy tale from Switzerland, gives you a lift, as it revels in the oddball joy of genius as kid power.
    • 69 Metascore
    • 83 Owen Gleiberman
    Joshua does grow a bit repetitious (it lacks the cathartic climaxes of a horror film), yet it has cool and savvy fun with your fears.
    • 50 Metascore
    • 83 Owen Gleiberman
    Devious and inspired enough to juice you past any weak spots. Thou shalt be amused.
    • 57 Metascore
    • 83 Owen Gleiberman
    There's an unconvincing last-act twist, but this is the movie "Little Children" wanted to be.
    • 71 Metascore
    • 83 Owen Gleiberman
    There's no denying its grip: It is lurid, fascinating, sickening, and eye-opening.
    • 49 Metascore
    • 83 Owen Gleiberman
    Its pulpy violent excess will tip over...into slightly more excessive excess. That's its silly, scuzzball joy.
    • 54 Metascore
    • 83 Owen Gleiberman
    What makes The Hunting Party an original, gonzo treat is the way that Shepard plants the movie's tone somewhere between hair-trigger investigative danger and the from-the-frying-pan-into-the-fire glee of a Hope/Crosby picture.
    • 78 Metascore
    • 83 Owen Gleiberman
    Control goes past the clichés of punk rock-god gloom to offer a snapshot of alienation that's shockingly humane.
    • 58 Metascore
    • 83 Owen Gleiberman
    It's galvanizing to see it played out through the furious contradiction of Carter's personality. He is pious, stubborn, compassionate, testy, moral, unreasonable, and wise.
    • 79 Metascore
    • 83 Owen Gleiberman
    Captures the Joe Strummer who, in the late 1970s, just about firebombed the rock establishment with his fury.
    • 67 Metascore
    • 83 Owen Gleiberman
    As skewed, prismatic, and free of fluff as the man himself.
    • 59 Metascore
    • 83 Owen Gleiberman
    Beowulf is a solemnly gorgeous, at times borderline stolid piece of Tolkien-with-a-joystick mythology.
    • 59 Metascore
    • 83 Owen Gleiberman
    This beautiful and urgent eco-doc takes a bite out of the shark mythology made indelible by "Jaws."
    • 69 Metascore
    • 83 Owen Gleiberman
    It's all about a likable scoundrel who discovers what it means to act out of conviction. The film's underlying twist, though, is tartly ironic.
    • 74 Metascore
    • 83 Owen Gleiberman
    A highbrow chick flick that made me feel older, in a good way.
    • 83 Metascore
    • 83 Owen Gleiberman
    Paranoid Park has the slightly glum insularity of minimalist fiction, but it's the first of Van Sant's blitzed-generation films in which a young man wakes up instead of shutting down.
    • 76 Metascore
    • 83 Owen Gleiberman
    In Shine a Light, a crackling concert movie directed by Martin Scorsese, the Rolling Stones are now so old that they seem new again.
    • 79 Metascore
    • 83 Owen Gleiberman
    Even at his coolest, Downey's Iron Man remains a ghostly, neurotic crusader -- one whose life, in the Marvel tradition, has become a grand spectacle of overcompensation.
    • 53 Metascore
    • 83 Owen Gleiberman
    A movie that taps directly back into the show's primal appeal, which is the sweet, sad, saucy delight of sharing these women's company.
    • 78 Metascore
    • 83 Owen Gleiberman
    The Golden Army dazzles like something out of "Jason and the Argonauts." To make a comic-book fantasy this derivative yet this dazzling requires more than technique. It takes a director in touch with his inner hellboy.
    • 71 Metascore
    • 83 Owen Gleiberman
    That's Trumbo's message -- that the true victim was America.
    • 54 Metascore
    • 83 Owen Gleiberman
    As a movie, Hamlet 2 is lively, energetically daft, and very, very scrappy -- a broader, more loony-tunes knockoff of "Waiting for Guffman."
    • 47 Metascore
    • 83 Owen Gleiberman
    It's an indelibly warped cartoon of lust and despair.
    • 53 Metascore
    • 83 Owen Gleiberman
    Ritchie concocts a crime-jungle demimonde that's organically linked to the real world, and it's a damn fun one to visit.
    • 61 Metascore
    • 83 Owen Gleiberman
    The fun of Role Models is that it's a high-concept movie executed with speed and finesse and the kind of brusquely tossed-off obscene banter that can get you laughing before you know what hit you.
    • 66 Metascore
    • 83 Owen Gleiberman
    If you want to hear juicy inside tales of the scams devised by Lee Atwater, the right-wing visionary of media-age dirty tricks, you'll find loads of them in Boogie Man.
    • 78 Metascore
    • 83 Owen Gleiberman
    Gini Reticker's simply made, affecting documentary Pray the Devil Back to Hell reveals how these heroic ordinary women prodded the factions to peace and literally brought down Taylor, a leader of sociopathic cruelty.
    • 65 Metascore
    • 83 Owen Gleiberman
    It's an enjoyable ramble, with a feel for what made the early days of rock as wild as any that followed.
    • 69 Metascore
    • 83 Owen Gleiberman
    The best thing about Revolutionary Road, a cool-blooded and disquieting adaptation of Richard Yates' 1961 novel about a powerfully unhappy Connecticut couple, is that it doesn't end with that rote vision of bourgeois anomie. It only begins there.
    • 64 Metascore
    • 83 Owen Gleiberman
    Lurie hits closer to the bone here than he did in his ham-handed "The Contender" (2000).
    • 60 Metascore
    • 83 Owen Gleiberman
    Notorious makes the death of Biggie Smalls look like a tragic mistake, instead of the outgrowth of a culture devoted to selling the fantasy of who's the biggest man.
    • 89 Metascore
    • 83 Owen Gleiberman
    The result is a playful, elusive movie that isn't so much heartwarming as soul-cleansing.
    • 82 Metascore
    • 83 Owen Gleiberman
    The film's style is so ''objective'' it's a bit subdued, yet this is a sports drama of total originality, as well as the most authentic inside view of the immigrant experience the movies have given us in quite a while.
    • 42 Metascore
    • 83 Owen Gleiberman
    Battle of the Smithsonian has plenty of life. But it's Adams who gives it zing.
    • 66 Metascore
    • 83 Owen Gleiberman
    It hooks you up, happily, to your inner top chef.
    • 68 Metascore
    • 83 Owen Gleiberman
    Spells out the problem in clear, urgent, prosaic terms.
    • 63 Metascore
    • 83 Owen Gleiberman
    Pfeiffer transcends any hint of cliché ''cougar'' voraciousness.
    • 31 Metascore
    • 83 Owen Gleiberman
    A grubby, disturbing serial-killer mystery, a kind of blood-simple "Rashomon."
    • 84 Metascore
    • 83 Owen Gleiberman
    The Cove is the rare documentary specifically designed as a thriller.
    • 69 Metascore
    • 83 Owen Gleiberman
    Williams hasn't been this sympathetic in years.
    • 75 Metascore
    • 83 Owen Gleiberman
    It's a David-and-Goliath tale, full of anger and disturbing accusation, but it's also inspiring.
    • 59 Metascore
    • 83 Owen Gleiberman
    It's the die-hard camaraderie that undergirded this squad and lifted it to the top.
    • 26 Metascore
    • 83 Owen Gleiberman
    The film is consistently fun, and Tucker's comeuppance ? will leave you gasping (if not gagging) with laughter.
    • 64 Metascore
    • 83 Owen Gleiberman
    Turns into a lyrical and stirring meditation on the mystery of autism.
    • 72 Metascore
    • 83 Owen Gleiberman
    Rock gives Good Hair a rousing message: Where African-Americans in the '60s adopted a ''natural'' look, they now feel free to coif their heads any way they want. That's cultural power.
    • 77 Metascore
    • 83 Owen Gleiberman
    There's nothing drab about the tormented place these men take each other to. You'll want to go along.
    • 62 Metascore
    • 83 Owen Gleiberman
    His pluck and chutzpah shine through.
    • 74 Metascore
    • 83 Owen Gleiberman
    How is Invictus as a sports movie? Let's just say that its lump-in-the-throat climax is predictable, but that doesn't mean it's less than earned.
    • 64 Metascore
    • 83 Owen Gleiberman
    The Young Victoria has a subtler flow than you might expect, and at times it's calmer than you may like. Director Jean-Marc Vallée's images have a creamy stateliness, but this is no gilded? princess fantasy.
    • 75 Metascore
    • 83 Owen Gleiberman
    It's memorable when it meditates on the changing face of where we look at art, and how that changes the art itself.
    • 67 Metascore
    • 83 Owen Gleiberman
    What holds The Eclipse together is Hinds' sorrowful and moving performance as a man haunted in more ways than one.
    • 70 Metascore
    • 83 Owen Gleiberman
    The joy of cartoons meets the agony of office politics in this fascinating, inside- Hollywood-baseball documentary.
    • 66 Metascore
    • 83 Owen Gleiberman
    An enjoyably supercharged and ultraviolent teen-rebel comic-book fantasy that might be described -- in spirit, at least -- as reality-based.
    • 55 Metascore
    • 83 Owen Gleiberman
    When You're Strange, a documentary history of the Doors directed by Tom DiCillo, is for people like me who can stumble onto the scrappiest Doors video on VH1 at 3 a.m. and sit there, mesmerized.
    • 65 Metascore
    • 83 Owen Gleiberman
    Chesney makes an art form out of strolling down the catwalk while singing. He turns each song into a blissed-out journey homeward.
    • 33 Metascore
    • 83 Owen Gleiberman
    Unlike its obvious influence, the 1999 Japanese shocker "Audition," The Human Centipede has no real-world echoes. It's an only-in-the-movies sick goof.
    • 47 Metascore
    • 83 Owen Gleiberman
    The whole movie is a diversionary activity. It's trash so compacted it glows.
    • tbd Metascore
    • 83 Owen Gleiberman
    Fans will gorge on this deft, year-by-year portrait of the ultimate enduring cult band.
    • 45 Metascore
    • 83 Owen Gleiberman
    Yes, Stone gets cozy with Hugo Chávez, soft-pedaling the Venezuelan president's crackdown tendencies, but he also captures South America in a paradigm shift, wrenching itself free of centuries of colonial control. The film is rose-colored agitprop, but it catches a current of history.
    • 58 Metascore
    • 83 Owen Gleiberman
    The story, at heart, is earnest and humorless teen romantic glop, but its feelings aren't fake, and the movie is compulsively watchable; it has a passionflower intensity.
    • 66 Metascore
    • 83 Owen Gleiberman
    I found The Girl Who Played With Fire more gripping than "Dragon Tattoo," because this one doesn't just play with thriller conventions -- it puts them to work.
    • 69 Metascore
    • 83 Owen Gleiberman
    The first rock & roll kung fu videogame youth love story.
    • 35 Metascore
    • 83 Owen Gleiberman
    The film offers evidence that Vicious spent the entire night out cold on barbiturates. It plants resonant doubts.
    • 86 Metascore
    • 83 Owen Gleiberman
    Unravels the deceptions -- and the deep dishonor -- that inflated life-size valor into fake superheroism.
    • 51 Metascore
    • 83 Owen Gleiberman
    Going the Distance may be a minor movie, but it's also the rare romantic comedy in which you can actually believe what you're seeing.
    • 79 Metascore
    • 83 Owen Gleiberman
    The surprise of Let Me In is that director Matt Reeves (Cloverfield) hasn't just remade the Swedish cult vampire film "Let the Right One In" into a more fluid and visceral movie. He's made it more dangerous.
    • 56 Metascore
    • 83 Owen Gleiberman
    It's a minimalist "Sideways," not so much mumblecore as talkycore.
    • 94 Metascore
    • 83 Owen Gleiberman
    A rivetingly journalistic account of a scoundrel's rise and fall.
    • 49 Metascore
    • 83 Owen Gleiberman
    Arnold Schwarzenegger appears as the rare politician who supports reform in this timely exposé of how our democracy has slipped off its tracks.
    • 53 Metascore
    • 83 Owen Gleiberman
    Even when nothing is happening, the often dead-silent shots tend to grow scarier the more you look at them.
    • 79 Metascore
    • 83 Owen Gleiberman
    Lurid and voluptuous pulp fun, with a sensationalistic fairy-tale allure. You can't take it too seriously, but you can't tear your eyes away from it, either.
    • 69 Metascore
    • 83 Owen Gleiberman
    Fair Game gets you riled up all over again at a deeply unpatriotic abuse of power.
    • 68 Metascore
    • 83 Owen Gleiberman
    Deepens the saga of New York's former governor and attorney general into the paradoxical morality play it really was. Spitzer, almost three years after he was caught soliciting escorts, comes off as chastened but still regal, like a hawkeyed Jewish Kennedy.
    • 63 Metascore
    • 83 Owen Gleiberman
    Too goofy-surreal to pack a lot of emotional punch, but it's antically light on its feet, with 3-D images that have a lustrous, gizmo-mad sci-fi clarity.
    • 67 Metascore
    • 83 Owen Gleiberman
    The movie's redemptive structure is a bit routine, yet I watched nearly every scene with a sense of discovery. Coppola is a true filmmaker, and in Somewhere she pierces the Hollywood bubble from the inside.
    • 67 Metascore
    • 83 Owen Gleiberman
    Paul Giamatti, dialing down his trembly-voiced neurotic energy to good effect, gives a holy hell of a performance as Barney Panofsky.
    • 52 Metascore
    • 83 Owen Gleiberman
    If this is what it sounds like when a new millennium goes pop, I'll take it.
    • 59 Metascore
    • 83 Owen Gleiberman
    In Limitless, a potently fanciful and fun thriller about a drug that turns you into a genius, Cooper proves a cock-of-the-walk movie star.
    • 75 Metascore
    • 83 Owen Gleiberman
    Win Win, it turns out, isn't a tale of facile victory. It's a movie about how loss makes everyone do things they'll both defend and regret.
    • 67 Metascore
    • 83 Owen Gleiberman
    High-octane trash, but you will go "Ohhhhhh!"
    • 57 Metascore
    • 83 Owen Gleiberman
    So scrupulously researched and argued that only a fool would ignore its findings.
    • 50 Metascore
    • 83 Owen Gleiberman
    Last Night is on to something fascinating. It meditates on the meaning of adultery: the purposes it serves, beyond sex.
    • 44 Metascore
    • 83 Owen Gleiberman
    Here, as in "The Hangover," the laughs aren't just staged, they're superlatively engineered.
    • 67 Metascore
    • 83 Owen Gleiberman
    At times, Kung Fu Panda 2 suggests "Bambi" redone as an episode of Oprah. Yet it's a more-than-worthy sequel.
    • 64 Metascore
    • 83 Owen Gleiberman
    Harper Lee hasn't been interviewed in 47 years, but this meditation on her only novel, "To Kill a Mockingbird," puts you inside her skin.
    • 64 Metascore
    • 83 Owen Gleiberman
    A Better Life was directed by the eclectic Chris Weitz (The Twilight Saga: New Moon, About a Boy), who weaves the torpor and anxiety of immigrant life into something dramatically true, if at moments a bit draggy.
    • 76 Metascore
    • 83 Owen Gleiberman
    Beats is a welcome blast of '90s nostalgia, taking us back to a time - and a sound - that pulsates with optimism.
    • 83 Metascore
    • 83 Owen Gleiberman
    A fascinating and in many ways tragic documentary, takes us back to one of the high-water marks of the apes-are-people-too era.
    • 52 Metascore
    • 83 Owen Gleiberman
    I'm not sure what it all adds up to, but The Devil's Double puts its hooks in you and keeps them there.
    • 72 Metascore
    • 83 Owen Gleiberman
    Bellflower is stylishly watchable - even when it's preposterous.
    • 74 Metascore
    • 83 Owen Gleiberman
    Higher Ground breaks crucial, sacred ground in American moviemaking.
    • 52 Metascore
    • 83 Owen Gleiberman
    Jeff Prosserman's riveting documentary takes a question that haunted the Bernie Madoff scandal - how did he fool everyone for so long? - and answers it with a decisive "He didn't."
    • 65 Metascore
    • 83 Owen Gleiberman
    The Debt is basically an entertaining riff on "Munich." It's about a (fictional) operation of top secret Israeli revenge, carried out by three highly trained agents whose plan goes off the rails in ways that are more fascinating than the mission itself.
    • 73 Metascore
    • 83 Owen Gleiberman
    A tangy raw stew of history, even if it never begins to confront the contradictions that bedeviled black militancy.
    • 17 Metascore
    • 83 Owen Gleiberman
    Far more grotesque than the first Human Centipede - in fact, The Human Centipede 2 (Full Sequence) could be the sickest B movie ever made.
    • 85 Metascore
    • 83 Owen Gleiberman
    A puzzle of a highly rarefied order. At times it's enthrallingly clever and subtle; at others it's borderline incomprehensible.
    • 71 Metascore
    • 83 Owen Gleiberman
    For a documentary that's almost engineered to lift your heart, Undefeated is very well done.
    • 60 Metascore
    • 83 Owen Gleiberman
    Throw in a nagging divorce settlement, an unplanned murder, and Billy Crudup - hilarious! - as a raging security man, and Jill Sprecher's film enjoyably fuses cleverness and sheer desperation.
    • 46 Metascore
    • 83 Owen Gleiberman
    The movie is like a less original "WALL•E," but it's still vibrant and touching.
    • 77 Metascore
    • 83 Owen Gleiberman
    Director David Gelb pulls back the curtain on the kitchen rituals of sushi, inviting us to experience the savory-smooth sensation of ''umami,'' roughly translated as ''Ahhh!''
    • 74 Metascore
    • 83 Owen Gleiberman
    As long as the MPAA is issuing its cavalier decrees, though, they're the ones acting like bullies.
    • 62 Metascore
    • 83 Owen Gleiberman
    A lively, original, and scattershot-hilarious ramble of a Judd Apatow production.
    • 67 Metascore
    • 83 Owen Gleiberman
    Sound of My Voice doesn't follow through on everything it sets up, yet it has a hushed and revealing psycho-intensity. It also has an oh-wow Twilight Zone ending that truly made me go, ''Oh, wow.''
    • 69 Metascore
    • 83 Owen Gleiberman
    In terms of storytelling, The Avengers is for the most part a highly functional, banged-together vehicle that runs on synthetic franchise fuel. Yet the grand finale of CGI action, set in the streets of New York, is - in every sense - smashing.
    • 55 Metascore
    • 83 Owen Gleiberman
    Depp's performance is more than just funny - it's ghoulishly endearing.
    • 35 Metascore
    • 83 Owen Gleiberman
    The best thing about the movie is that it keeps drawing conclusions in opposite directions.
    • 60 Metascore
    • 83 Owen Gleiberman
    The story in Madagascar 3 is functional, but the antically civilized spirit is infectious.
    • 72 Metascore
    • 83 Owen Gleiberman
    The movie is fascinating, though it smacks its own lips a bit too much at the tackiness of freak '70s stardom.
    • 59 Metascore
    • 83 Owen Gleiberman
    Savages is Oliver Stone doing what he should have done a long time ago: making a tricky, amoral, down-and-dirty crime thriller that's blessedly free of any social, topical, or political relevance.
    • 67 Metascore
    • 83 Owen Gleiberman
    Ruby Sparks is a romantic comedy that takes off from a premise so fanciful it needs every bit of the freshness that Dano brings it.
    • 67 Metascore
    • 83 Owen Gleiberman
    Robot & Frank is sentimental high-concept fluff that works.
    • 41 Metascore
    • 83 Owen Gleiberman
    An alienated-teen movie that surfs along on the whims and casual cruelties of its central character runs a risk: It can wind up as random and undisciplined as she is. Instead, Little Birds is a touching and distinctive achievement.
    • 42 Metascore
    • 83 Owen Gleiberman
    Won't Back Down says that whatever your feelings about the subject, lack of change cannot be the answer to our public-education crisis. Trying to cram an informational exposé and a vintage inspirational awards-bait weeper into one movie, Won't Back Down is awkward at times, yet it's also passionate in a surprisingly smart way. It makes a genuine drama out of impossible issues.
    • 55 Metascore
    • 83 Owen Gleiberman
    Cloud Atlas is certainly out to be a ''visionary'' mindbender, but the film's secret is that it's a nimbly entertaining and light-on-its-feet Hollywood contraption, with the actors cast in multiple roles as if playing a game of dress-up.
    • 67 Metascore
    • 83 Owen Gleiberman
    Posey, her attention divided up into slivers, is funny as hell, but she's also terrifying in her evocation of a kind of moment-to-moment PowerPoint existence.
    • 55 Metascore
    • 83 Owen Gleiberman
    It's a perfect summation of why he was the ultimate filmmaker.
    • 78 Metascore
    • 83 Owen Gleiberman
    Spitting obscenities at the film's director, Jay Bulger, Baker recalls his days as: the '60s thrash caveman who gave Cream and Blind Faith their transcendent power surge; the pioneer of druggy hotel-room rampages; and the damaged purist who left the pop world for Africa. The movie salutes the rhythms and the wreckage.
    • 75 Metascore
    • 83 Owen Gleiberman
    When we finally see the time-lapse images his cameras took, they're awesome and terrifying - a meltdown out of a poetic horror film.
    • 55 Metascore
    • 83 Owen Gleiberman
    Urgent, heartfelt, and not-quite-as-predictable-as-you-think environmental rabble-rouser.
    • 67 Metascore
    • 83 Owen Gleiberman
    Highlights Gaskin's down-home gumption as an advocate for the glory of natural childbirth.
    • 75 Metascore
    • 83 Owen Gleiberman
    Side Effects is mostly a good Saturday-night movie, but by the end, it's caused a few unintended side effects of its own: a bit of head-scratching, and a giggle or two of disbelief.
    • 71 Metascore
    • 83 Owen Gleiberman
    As a politico, Ed Koch loved power a little too much. But as a leader, he was a storybook embodiment of New York's contradictions, which is why his chapters in the city's saga loom so large.
    • 76 Metascore
    • 83 Owen Gleiberman
    The movie is playful and makes no easy moral judgments.
    • 61 Metascore
    • 83 Owen Gleiberman
    The Jeffrey Dahmer Files is for hardcore Dahmer obsessives only.
    • 44 Metascore
    • 83 Owen Gleiberman
    Can a movie be gripping and repellent at the same time? In Funny Games, a mockingly sadistic and terrifying watch-the-middle-class-writhe-like-stuck-pigs thriller, the director Michael Haneke puts his characters in a vise, and the audience too.
    • 62 Metascore
    • 83 Owen Gleiberman
    42
    Helgeland works in what I think of as a conservative — or maybe it's just really, really basic — neoclassical Hollywood style, spelling everything out, letting the story unfold in a plainspoken and deliberate fashion, with a big, wide, open pictorial camera eye. It's like the latter-day Clint Eastwood style, applied to material that's as traditional as can be.
    • 76 Metascore
    • 83 Owen Gleiberman
    The first hour of The Last of the Mohicans plays like a convoluted history lesson. I appreciate that Mann has enough respect for the audience's intelligence to sketch in this briar patch of conflicting loyalties. But he outlines the interlocking factions without really making it clear, in dramatic terms, what each one stands for.
    • 61 Metascore
    • 83 Owen Gleiberman
    A summer-adventure comedy, and its tone is fairly synthetic, yet it gets major props for giving us the first movie heroine who is clueless and easy in such a hardcore way.
    • 36 Metascore
    • 83 Owen Gleiberman
    Schrader tries to find the human side of it all, and he scores with Lohan, who taps a vulnerability beneath her dissolution to remind you why she's still a movie star.
    • 61 Metascore
    • 83 Owen Gleiberman
    I wish that the film had more of the tasty futuristic detail promised by that dummy parole officer. I also wish that Blomkamp took us deeper into the world of Elysium.
    • 71 Metascore
    • 83 Owen Gleiberman
    The actors all blend terrifically, making this the film equivalent of great hang time.
    • 66 Metascore
    • 83 Owen Gleiberman
    Gordon-Levitt proves a natural filmmaker, nimbly staging Jon's highly amusing Catholic confessions, along with porn montages that mimic the dopamine-charged editing of "Requiem for a Dream." He also gets a terrific performance out of Tony Danza as Jon's hilariously blinkered brute of a dad.
    • 50 Metascore
    • 83 Owen Gleiberman
    Adam Scott has a controlled, almost overly impeccable charisma. Handsome, with small precise facial features, he has a witty, hiply downcast delivery that, on screen, can make him seem like a unit unto himself.
    • 83 Metascore
    • 83 Owen Gleiberman
    A great many filmmakers — too many — use handheld cameras to evoke a sensation of raw, this is really happening immediacy. But director Paul Greengrass is unique. At a glance, his live-wire, ragged-camera method may seem overly familiar, but the way he employs it, that method is as expressive as the style of a superb novelist.
    • 41 Metascore
    • 83 Owen Gleiberman
    Machete Kills is gruesomely baroque trash staged with a kinetic freedom that is truly eye-popping, so you can forgive its lapses, like how it goes on a little too long. Rodriguez's only real sin as a filmmaker is that he wants to give you way too much of a crazy ultraviolent good time.
    • 49 Metascore
    • 83 Owen Gleiberman
    The Fifth Estate is flawed (it grips the brain but not the heart), yet it feverishly exposes the tenor of whistle-blowing in the brave new world, with the Internet as a billboard for anyone out to spill secrets. Call it the anti-social network.
    • 74 Metascore
    • 83 Owen Gleiberman
    Frozen is a squarely enchanting fairy tale that shows you how the definition of what's fresh in animation can shift.
    • 82 Metascore
    • 83 Owen Gleiberman
    The movie is voyeuristic, sure, but in a way that evokes Alfred Hitchcock's "Rear Window" more than William Friedkin's "Cruising."
    • 48 Metascore
    • 83 Owen Gleiberman
    Woodley, through the delicate power of her acting, does something compelling: She shows you what a prickly, fearful, yet daring personality looks like when it's nestled deep within the kind of modest, bookish girl who shouldn't even like gym class.
    • 51 Metascore
    • 83 Owen Gleiberman
    In the title role, Michael Peña has a no-nonsense fire: He captures how Chavez borrowed from Martin Luther King Jr. but also fueled the struggle with his own improvisatory brilliance.
    • 70 Metascore
    • 83 Owen Gleiberman
    The creators of Captain America: The Winter ­Soldier have brought off something fresh and bold.