Owen Gleiberman

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For 2,664 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 3.5 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Battle for Haditha
Lowest review score: 0 Being Human
Score distribution:
2664 movie reviews
    • 50 Metascore
    • 75 Owen Gleiberman
    If nothing else, Shaft is spicy fast food.
    • 76 Metascore
    • 75 Owen Gleiberman
    Catching Fire is smoothly exciting but a bit of a tease.
    • 67 Metascore
    • 75 Owen Gleiberman
    Depp portrays a fellow who is openly gentle to the core, and the actor just about wraps the movie around his lilting delivery and quiescent gaze.
    • 53 Metascore
    • 75 Owen Gleiberman
    I knew perfectly well, after a while, what Sinister was going to scare me with. But I got scared anyway.
    • 66 Metascore
    • 75 Owen Gleiberman
    The trouble is, nothing about this couple is particularly rooted in Los Angeles. The love affair has a bland, generic feel. What's more, the picture lacks verve.
    • 60 Metascore
    • 75 Owen Gleiberman
    At times too restrained, yet there are moments it captures the erotics of intimacy in a way that makes most American love stories look downright unfree.
    • 78 Metascore
    • 75 Owen Gleiberman
    Son Frère is hushed, clinical, grimly paced, and moving.
    • 61 Metascore
    • 75 Owen Gleiberman
    At its best, Capitalism: A Love Story is a searing outcry against the excesses of a cutthroat time. At its worst, it's dorm-room Marxism.
    • 66 Metascore
    • 75 Owen Gleiberman
    The races are scorchingly shot, and they lend the movie a zest.
    • 63 Metascore
    • 75 Owen Gleiberman
    The film is brimming with plots, counterplots, dossiers, and sinister corrupt priorities, all held together by the telephoto obsidian gloss of Scott's look-ma-no-pauses style.
    • 58 Metascore
    • 75 Owen Gleiberman
    A lively, disposable hybrid of the sincere and the synthetic.
    • 77 Metascore
    • 75 Owen Gleiberman
    For all the praise that has been heaped upon it, is a quasisatisfying, half realized vision.
    • 69 Metascore
    • 75 Owen Gleiberman
    Chicago 10 is well worth seeing, if only because a good half of the film is devoted to extraordinary footage of the four days of rage that spawned the trial.
    • 50 Metascore
    • 75 Owen Gleiberman
    At times, Now You See Me suggests Christopher Nolan's "The Prestige" made with a throwaway wink.
    • 59 Metascore
    • 75 Owen Gleiberman
    In the end, Scent of a Woman offers little more than lumbering simulation of Rain Man's nimble magic. But Pacino's performance-scabrous, tender, ripely theatrical-is a master showman's trick.
    • 74 Metascore
    • 75 Owen Gleiberman
    And so even if you're held (as I was) by the acting, you may find yourself fighting the film's design. It reflects a certain lack of faith in your audience to take a performance as authentic as De Niro's and reduce it to the level of a glorified reach-out-and-touch-someone commercial.
    • 61 Metascore
    • 75 Owen Gleiberman
    Stuart Gordon, the mostly under-the-radar director of "Re-Animator," pops back into view with this amusing trifle -- a piece of scuzzy tabloid noir.
    • 51 Metascore
    • 75 Owen Gleiberman
    It's hard to deny that Gallo has caught the freedom and melancholy, the intoxicating aimlessness, the lonely twilight beauty of a solo road trip in a way that no previous filmmaker quite has.
    • 52 Metascore
    • 75 Owen Gleiberman
    Imagine two movies...The first is a moody thriller about two brothers who pull off a bank job, take a family hostage, and head for Mexico. The second is a garish horror freak-out. The deranged hook of From Dusk Till Dawn is that it starts out as the first movie and turns, on a dime, into the second.
    • 68 Metascore
    • 75 Owen Gleiberman
    Paced a bit too glacially for my taste, yet it's worth sitting through for its trick ending, a twist of events as ominous as the landscape.
    • 77 Metascore
    • 75 Owen Gleiberman
    Scorsese, I think, is so invested in making The Aviator upbeat and rousing that the movie never quite reveals, the way that "Kinsey" or "Ray" or "A Beautiful Mind" or even a good E! True Hollywood Story do, how its hero's vision and his grand torments could be flip sides of the same temperament.
    • 68 Metascore
    • 75 Owen Gleiberman
    Might have been richer, tougher, more honestly liberal if it had revealed a few more shades of gray among the men.
    • 57 Metascore
    • 75 Owen Gleiberman
    Every actor registers...In a film of minor ambition, they're all worthy company.
    • 54 Metascore
    • 75 Owen Gleiberman
    Vacancy is a schlock surprise: a no-frills motel-hell slasher film -- with a bit of soul.
    • 63 Metascore
    • 75 Owen Gleiberman
    The Upside of Anger is overly therapized, yet Costner and Allen show you what it means not just to play a role but to inhabit it.
    • 59 Metascore
    • 75 Owen Gleiberman
    Heartbreaker is like a caper comedy meets "The Bodyguard" - it's winsome and accomplished fluff.
    • 19 Metascore
    • 75 Owen Gleiberman
    For Sandler, it's not just when he grew up. It's the garden of idiotic innocence, something that, in Grown Ups 2, he is helping to keep alive.
    • 81 Metascore
    • 75 Owen Gleiberman
    I wish I could say that Wattstax was an ecstatic soul celebration, but most of the performances, while enjoyable, fall short of memorable.
    • 56 Metascore
    • 75 Owen Gleiberman
    In its wildly overwrought, burrito-Western way, is about as close to a home movie as you're likely to see in a megaplex.
    • 40 Metascore
    • 75 Owen Gleiberman
    Lawrence makes you believe in the character you're watching. He does an amazing little piece of acting.
    • 64 Metascore
    • 75 Owen Gleiberman
    A spectacularly turbulent portrait of the chaos and bloodshed that have come to define Haiti.
    • 75 Metascore
    • 75 Owen Gleiberman
    This trio is like a looser, funnier version of the family of wrecks in Woody Allen's ''Interiors.''
    • 49 Metascore
    • 75 Owen Gleiberman
    The film keeps throwing things at you, like a colorful ape pirate (Peter Dinklage) and a fun hallucination sequence. That said, the laughs are starting to feel prehistoric.
    • 30 Metascore
    • 75 Owen Gleiberman
    In the hands of director and co-writer Shana Feste (Country Strong), Endless Love has become a solidly engaging neo-'50s romantic melodrama.
    • 77 Metascore
    • 75 Owen Gleiberman
    Tom Hanks, Bill Paxton, and Kevin Bacon try to get inside the skins of these space-age pilot jocks, but the roles, as written, don't give them enough to work with.
    • 70 Metascore
    • 75 Owen Gleiberman
    The latest slacker manifesto, Clerks lacks the grunge artistry of either "Stranger Than Paradise" or "Slacker," but it's a fast, likable 90 minutes at the movies.
    • 57 Metascore
    • 75 Owen Gleiberman
    The movie is scattershot (intense at some moments, slack at others), but it earns its docu-style creepiness, and Karpovsky's stretch as an actor is daring and authentic.
    • 67 Metascore
    • 75 Owen Gleiberman
    There is a method to its madness, since the madness here is really Cobain's. Last Days mythologizes his suicide as a haunting act of fulfillment: the consummation of a life that had already ceased to be.
    • 50 Metascore
    • 75 Owen Gleiberman
    The dialogue veers into digressions about ADHD, the cruddiness of mainstream dog food, and much else. That these asides prove more fun than the central action is what gives Hit & Run its flavor: tasty at times, even if the film evaporates as you watch it.
    • 64 Metascore
    • 75 Owen Gleiberman
    It ends up subverting its own subversion, arriving at a place that can only be called conventional.
    • 76 Metascore
    • 75 Owen Gleiberman
    Has moments of biting tenderness, yet the movie made me wish that Sheridan had let in more of America.
    • 52 Metascore
    • 75 Owen Gleiberman
    A tricky-bordering-on-gimmicky film noir with a glaze of soft-core kink.
    • 73 Metascore
    • 75 Owen Gleiberman
    You know you're in the hands of a born filmmaker when he floods a scene with danger and excitement and, at the same time, tempers it with something more delicate -- a languor of the everyday.
    • 50 Metascore
    • 75 Owen Gleiberman
    Will Miss Perfect fall for the Leader of the Pack? It helps that he's played by Thomas McDonell, who's not only a dead ringer for the young Johnny Depp but also has a comparable charisma.
    • 64 Metascore
    • 75 Owen Gleiberman
    Each scene is staged methodically, overdeliberately, as if it concealed some payoff zinger. But the zingers don't arrive. All we see is a reasonably clever Elmore Leonard caper that needed to be treated as fast, trashy fun.
    • 40 Metascore
    • 75 Owen Gleiberman
    Good has a stagy fustiness, but it's worth seeing for Mortensen, who makes this study of a "good German" look creepily contemporary.
    • 59 Metascore
    • 75 Owen Gleiberman
    It's a movie of profoundly convoluted pop pleasures. Between dazzling suspense sequences, it invites the audience to work for a good time.
    • 78 Metascore
    • 75 Owen Gleiberman
    In this offbeat buddy-cop comedy, Don Cheadle, as an FBI agent trying to stop a drug ring, makes the perfect foil.
    • 48 Metascore
    • 75 Owen Gleiberman
    21
    The fun of 21 is the way that this sharp, hyperaware star in the making, his face as readable as a mood ring, pours us into an adrenalized cocktail of fear, desire, and mental buzz.
    • 32 Metascore
    • 75 Owen Gleiberman
    A big, fat, juicy spitball lobbed, with mostly dead-on aim, at the teen-smarm clichés that have accumulated like so much earwax over the last three years.
    • 65 Metascore
    • 75 Owen Gleiberman
    It's conventional stuff, only executed with a smart, improv-y verve.
    • 47 Metascore
    • 75 Owen Gleiberman
    The best thing about RED 2, like its predecessor, is its lightness of tone. Too many movies with comic-book roots come on too seriously, even when the comics themselves have a loose, fast, jocular wit about them.
    • 56 Metascore
    • 75 Owen Gleiberman
    More than ever, Johnny Knoxville and his boys belong to a very elite club of idiocy. They martyr themselves for our diversion, driven at every moment to ask: Are you not entertained?
    • 77 Metascore
    • 75 Owen Gleiberman
    So obsessed with wowing you, in every corner of every frame, that as a movie it doesn't quite breathe.
    • 50 Metascore
    • 75 Owen Gleiberman
    A classy romantic cocktail distinguished by its tart yet breezy bite.
    • 70 Metascore
    • 75 Owen Gleiberman
    Jim Carrey entertains himself mightily in Liar Liar, and his enthusiasm is infectious.
    • 62 Metascore
    • 75 Owen Gleiberman
    Zahedi is ruefully funny and savage in his self-exposure.
    • 37 Metascore
    • 75 Owen Gleiberman
    This is a B movie rooted in gut-level stirrings of power and retaliation.
    • 49 Metascore
    • 75 Owen Gleiberman
    Plays like an unusually ritzy festival circuit audition film, though McQuarrie, it must be said, aces the audition.
    • 60 Metascore
    • 75 Owen Gleiberman
    With Bullock doing a variation on her Miss Congeniality geek-tomboy-who-has-to-bloom character, and McCarthy letting her acidly oddball observations rip, the two actresses make their interplay bubble.
    • 62 Metascore
    • 75 Owen Gleiberman
    If The Matrix Reloaded is a trip through high-toned mediocrity, not nearly as suggestive or cohesive as ''The Matrix,'' it's one of the most wizardly mediocre movies I've seen in quite some time.
    • 75 Metascore
    • 75 Owen Gleiberman
    The movie, for all its half-baked visual marvels, remains remarkably faithful to Lewis' story, and the innocence of his passion begins to shine through. It's there, most spectacularly, in Aslan, the lion-king messiah.
    • 66 Metascore
    • 75 Owen Gleiberman
    A scrupulous and honorable film. Yet it never comes close to being a revelatory one; it sentimentalizes more than it haunts.
    • 71 Metascore
    • 75 Owen Gleiberman
    A testament to the discipline, humor, and life of kids who swing.
    • 48 Metascore
    • 75 Owen Gleiberman
    Admit it: It's not every horror film that can make you feel preached at and slimed at the same time.
    • 55 Metascore
    • 75 Owen Gleiberman
    It's a toasty, star-packed ensemble comedy in which a handful of lonelyhearts attempt, with some success, to come out of their shells, and it's going to make a lot of holiday romantics feel very, very good; watching it, I felt cozy and charmed myself.
    • 55 Metascore
    • 75 Owen Gleiberman
    Slick, reasonably amusing, never asking its audience to swallow anything too wild for consumption.
    • 61 Metascore
    • 75 Owen Gleiberman
    It's like "Capturing the Friedmans" scrubbed to a happy ending.
    • 50 Metascore
    • 75 Owen Gleiberman
    Face becomes a study of the immigrant embrace of freedom in America - a bridge built over time and generations.
    • 35 Metascore
    • 75 Owen Gleiberman
    The sequence serves no real purpose beyond dazzle for dazzle's sake, but when you're watching it, that's purpose enough.
    • 64 Metascore
    • 75 Owen Gleiberman
    Eastwood is now playing a man whose will is stronger than his body, and it's that tension -- between anger and frailty, steel and decay -- that powers the movie.
    • 67 Metascore
    • 75 Owen Gleiberman
    The Well-Digger's Daughter pushes a number of nostalgia buttons at once, most of them pleasing.
    • 67 Metascore
    • 75 Owen Gleiberman
    Cairo Time is affectingly gentle, with Juliette slowing down to open up -- a gossamer transformation that Clarkson makes tangible.
    • 39 Metascore
    • 75 Owen Gleiberman
    On paper, the movie sounds unbearably schlocky, but Costner plays Garret the reluctant backcountry prince as mythic but also foxy and life size.
    • 50 Metascore
    • 75 Owen Gleiberman
    From what we can tell, Brown was a dancer, all right, in life as well as on the field -- a dancer with a powerful forearm, one that Lee covers in protective padding.
    • 64 Metascore
    • 75 Owen Gleiberman
    The one performer who seems at home with the gravity of it all is Emma Thompson.
    • 84 Metascore
    • 75 Owen Gleiberman
    A good but far from great movie because it portrays truth telling in America as far more imperiled than it is.
    • 70 Metascore
    • 75 Owen Gleiberman
    Gerron's terrible film was never shown in the places it was meant for, but in Prisoner of Paradise it reveals a queasy corner of the Nazi mind that tried to imagine a concentration camp as it fantasized the inmates might have.
    • 48 Metascore
    • 75 Owen Gleiberman
    As a comedy, 50 First Dates is standard Sandler, but as a love story it left me pleasantly buzzed, if not quite punch-drunk.
    • 62 Metascore
    • 75 Owen Gleiberman
    In About Last Night, Hart blows up, to hilariously oversize proportions, the eternal male desire for freedom. He’s raunch on wheels.
    • 72 Metascore
    • 75 Owen Gleiberman
    The surprise of Superman Returns is that it isn't a funky, ambitious conceptual reimagining, like last summer's "Batman Begins." This really IS your father's Superman; it re-creates - and updates, though just barely - the universe Donner invented.
    • 80 Metascore
    • 75 Owen Gleiberman
    Anyone expecting a tender sunset elegy, however, has wandered into the wrong film. Saraband, despite a few wistful moments, is a poison pill of a reunion.
    • 45 Metascore
    • 75 Owen Gleiberman
    A cheerfully disposable gangland freak-show thrill ride that's been directed by the gifted Joe Carnahan (Narc) as if he were trying to give the audience a seizure.
    • 47 Metascore
    • 75 Owen Gleiberman
    The tiny scale and armchair talkiness mark the movie as a bit of a folly, an act of idealistic hubris in today's commercial marketplace, yet that's its (minor) fascination too.
    • 58 Metascore
    • 75 Owen Gleiberman
    Colorful and exciting, yet unless you're a young moviegoer, nothing in it takes you by complete surprise. (It's less a nail-biter than a chin-stroker.)
    • 82 Metascore
    • 75 Owen Gleiberman
    So overstuffed with random fireworks that despite its politics, it's easy to imagine the film getting a four-star rave from Bush or Saddam.
    • 59 Metascore
    • 75 Owen Gleiberman
    As a character, Austin Powers hasn't worn out his welcome, exactly, but he has outlived his novelty.
    • 54 Metascore
    • 75 Owen Gleiberman
    A gonzo splatterfest from New Zealand that manages to stay breezy and good-natured even as you're watching heads get snapped off of spurting torsos.
    • 72 Metascore
    • 75 Owen Gleiberman
    3-Iron is like a Raymond Carver story that slowly, inexorably takes on the dimensions of a ghostly fairy tale.
    • 48 Metascore
    • 75 Owen Gleiberman
    Admission, a likably breezy campus movie directed by Paul Weitz (About a Boy), is blissfully non-insulting.
    • 84 Metascore
    • 75 Owen Gleiberman
    The movie opens as borderline Hitchcock, echoing the tone of the filmmaker's bravura "Bad Education" (2004), and then turns into a kind of overly conceptualized Tennessee Williams.
    • 76 Metascore
    • 75 Owen Gleiberman
    It’s neorealist corn, but it gets to you.
    • 71 Metascore
    • 75 Owen Gleiberman
    Lays on the compassion a little thick, yet its heartfelt squalor stays with you.
    • 59 Metascore
    • 75 Owen Gleiberman
    In Happenstance, fortune doesn't just smile -- it schemes and tricks and zigzags, forming an urban road map of fate's detours.
    • 60 Metascore
    • 75 Owen Gleiberman
    Chong does his time (nine months) and has the last laugh, emerging as a born-again activist-survivor of the culture wars.
    • 57 Metascore
    • 75 Owen Gleiberman
    Too tightly made not to keep you watching, Holy Smoke is also too hokey and didactic to take seriously.
    • 95 Metascore
    • 75 Owen Gleiberman
    Splendidly crafted as it is, the new Disney is a luscious impasto of visual invention that never quite finds its heart.
    • 57 Metascore
    • 75 Owen Gleiberman
    The best thing about the movie, which is a very elegantly crafted piece of gothic snuff hokum, is the way it teases and intrigues us with the revelation of what's on that tape.
    • 62 Metascore
    • 75 Owen Gleiberman
    There are more chuckles than laughs, but the film does a witty job of replicating the hermetic, overlit shot language of '60s studio movies.
    • 70 Metascore
    • 75 Owen Gleiberman
    Schrader seems to have found his way. In Light Sleeper, he attains a new, fluid emotionalism. The movie is a small but absorbing mood piece, a canny insider’s view of the life of a Manhattan drug dealer.
    • 64 Metascore
    • 75 Owen Gleiberman
    Moses was elevating mankind to a place closer to God, but when the Red Sea parts here, the feeling it gives you isn't awe; it's closer to deep impact.
    • 58 Metascore
    • 75 Owen Gleiberman
    The movie is a gently overstuffed cinematic piñata, crammed with tall tales -- with giants and circuses and fairy-tale woods, plus a huge squirmy catfish, all served up with a literal matter-of-fact fancy that is very pleasing.
    • 62 Metascore
    • 75 Owen Gleiberman
    An entertaining but also oddly naive documentary about American advertising.
    • 73 Metascore
    • 75 Owen Gleiberman
    A canny franchise escapade; it gets the job done. But it also leaves you hungry for something more, and I don't necessarily mean the next episode.
    • 55 Metascore
    • 75 Owen Gleiberman
    His (Gibson) slow-burn fury keeps the movie going, but not enough to invest us in any justice beyond payback.
    • 55 Metascore
    • 75 Owen Gleiberman
    Becoming Jane has a burnished feminine sadness, and the director, Julian Jarrold, gives it a creamy-dark visual flow.
    • 32 Metascore
    • 75 Owen Gleiberman
    Chapter 27 is far from flawless, but Leto disappears inside this angry, mouth-breathing psycho geek with a conviction that had me hanging on his every delusion.
    • 84 Metascore
    • 75 Owen Gleiberman
    Darwin's Nightmare points an all-purpose finger at globalization, yet the movie, as raw and vivid as it is, meanders terribly and - bigger problem - never hints at how the disasters it shows us are rooted in Africa's colonial past.
    • 58 Metascore
    • 75 Owen Gleiberman
    You can have a reasonably nice time at Salmon Fishing in the Yemen if you accept that it's the tidiest movie imaginable to ever say that falling in love is like swimming upstream.
    • 59 Metascore
    • 75 Owen Gleiberman
    Confidence may be mannered at times, but its shell-game plot is alive with organic trickery.
    • 37 Metascore
    • 75 Owen Gleiberman
    A nice cookie-cutter comedy, no more and no less, but Dempsey, with his relaxed charm, and Monaghan, with her soft and peachy sensual spark, rise to the challenge of making friendship look like the wellspring of true love.
    • 65 Metascore
    • 75 Owen Gleiberman
    Darkman is a thrillingly demented pop spectacular: a grade-B movie made by a grade-A lunatic.
    • 59 Metascore
    • 75 Owen Gleiberman
    Nothing more than amiable fluff, yet Bettany infuses it with a brazen dash of reality. You believe in him, even when you don't quite believe in the movie.
    • 54 Metascore
    • 75 Owen Gleiberman
    Damon is a magical actor. His mind, as sharp and focused as a laser, beams out of the face of a vivacious choirboy, and, in nearly every scene, he invites you to share the jet-propelled pleasure of his precocious agility.
    • 51 Metascore
    • 75 Owen Gleiberman
    Contraband, while often grungy and far-fetched, does keep you watching. And in January, that's recommendation enough.
    • 82 Metascore
    • 75 Owen Gleiberman
    If Loach had given full voice to each side of this division, he could have made a great film -- maybe THE great film -- about the Irish struggle.
    • 41 Metascore
    • 75 Owen Gleiberman
    Spun is accomplished, but it's also numbing. It's hard to have much connection to people who never connect with each other.
    • 74 Metascore
    • 75 Owen Gleiberman
    The gimmicks, in the end, are too arbitrary to tie together in a memorably haunting fashion, though they do culminate in a Big Twist, a nifty one that almost -- but not quite -- makes you want to see the movie again.
    • 41 Metascore
    • 75 Owen Gleiberman
    As sociology, it's skin-deep, but if you're a parent or preparing to be one, you might see yourself in a few of these folks and have a good time doing so.
    • 53 Metascore
    • 75 Owen Gleiberman
    A marvelously designed piece of cartoon kinetics.
    • 42 Metascore
    • 75 Owen Gleiberman
    There’s a reason that it lacks the highs of "Wedding Crashers": The Internship puts us on the side of those who are trying to hold on to respectability, not tear it down.
    • 72 Metascore
    • 75 Owen Gleiberman
    This makes for a modestly touching journey, but New York Doll, in its wafer-thin way, is an oxymoron: a hagiographic tribute to a rocker with more passion than talent.
    • 52 Metascore
    • 75 Owen Gleiberman
    The film's cumulative effect is as exhausting as it is exciting.
    • 55 Metascore
    • 75 Owen Gleiberman
    Gleeson and McAdams make a touching, lifelike couple, but by the time the movie starts telling us to live each day as if we were going back and doing it all over again, you may feel Curtis has mistaken hokum for wisdom.
    • 75 Metascore
    • 75 Owen Gleiberman
    Slow going, but I mean it as no insult when I say that it bored me, in the end, to tears.
    • 74 Metascore
    • 75 Owen Gleiberman
    The film can be rambling and glib, yet it's no mere crime drama. It captures a middle-class French society that looks more humane than ours, but is just as messed up.
    • 82 Metascore
    • 75 Owen Gleiberman
    At once scary and stirring.
    • 51 Metascore
    • 75 Owen Gleiberman
    Although the film's frenetic rhythm is reminiscent of an "Indiana Jones" picture, visually Schumacher directs it like a musical, turning each image into eye candy, weaving one lush set piece into the next, as if he were the Vincente Minnelli of blockbusters.
    • 61 Metascore
    • 75 Owen Gleiberman
    The new version is actually better. It's still a fairly ham-handed revenge-of-the-nerd horror fable, but you don't go to a movie like Willard for subtlety. You go to be skeeved out by rats, rats, and more rats, and I'm tempted to say that Willard does a fairly rat-tastic job of it.
    • 32 Metascore
    • 75 Owen Gleiberman
    A bit of a tease itself. The movie keeps threatening to become amateur porn, like a risqué ''Candid Camera'' gone ''Dirty Debutantes,'' but it never quite gets there.
    • 38 Metascore
    • 75 Owen Gleiberman
    Fire, as this movie makes clear, is nothing if not photogenic, and Howard has done a beautiful job of conjuring both its danger and its deceptive, primal beauty.
    • 58 Metascore
    • 75 Owen Gleiberman
    A mild but charmingly off-kilter romantic comedy that gently satirizes love in an era of buy-now-pay-later brinkmanship.
    • 65 Metascore
    • 75 Owen Gleiberman
    As entertaining as some of it is, is so cool that it's almost too cool. It takes the sin, and much of the juice, out of vice.
    • 45 Metascore
    • 75 Owen Gleiberman
    The way that Stallone directs, though, every machete thrust and relentless round of bullet spray is staged with a certain undeniable...conviction.
    • 82 Metascore
    • 75 Owen Gleiberman
    Ballard connects you to the beauteous inner calm of the wild, even if audiences today are looking for a lot less calm.
    • 74 Metascore
    • 75 Owen Gleiberman
    Director Ole Christian Madsen combines sharp scenes of moral inquiry with a few too many functional, oldfangled espionage twists.
    • 87 Metascore
    • 75 Owen Gleiberman
    Lusts for catharsis yet never quite gets there, because, for all of its bitter romantic anguish, it ultimately coalesces in your head rather than your heart.
    • 63 Metascore
    • 75 Owen Gleiberman
    The moral murk of Crónicas would be more effective if the story weren't so contrived, yet the movie is worth seeing for Leguizamo's sinewy urgency, Alcázar's desperate cleverness as the killer, and the squalid, frantic atmosphere of Latin American hunger.
    • 50 Metascore
    • 75 Owen Gleiberman
    The director, Bill Duke ("A Rage in Harlem"), stages all of this with proficient confidence, yet he never truly summons the operatic power of the genre -- the pulp tragedy of ambition built on (and drowned in) blood.
    • 70 Metascore
    • 75 Owen Gleiberman
    The film's crank-case snappishness doesn't break any molds, but it certainly gives you a lift.
    • 49 Metascore
    • 75 Owen Gleiberman
    The sequel, more successfully (if less innocently), injects you into a luminous technological wonderland and asks you to be happy with the ride.
    • 64 Metascore
    • 75 Owen Gleiberman
    Assayas can't resist turning Demonlover into an overcalculatedly irrational rabbit-hole-to-the-dark-side thriller. The movie morphs into a ''dream,'' all right, but I confess that all I wanted to do was wake up from it and return to the slithery intrigue of corporate depravity.
    • 57 Metascore
    • 75 Owen Gleiberman
    Benny & Joon turns out to be a whimsical (and not very well paced) heart tugger in which two nice couples spend 98 ever-so-slightly flaky minutes figuring out that they’re perfect for each other.
    • 64 Metascore
    • 75 Owen Gleiberman
    One of the rare movies from Israel that refuses to spell out its politics, and you may wind up grateful for the ambiguity.
    • 72 Metascore
    • 75 Owen Gleiberman
    Directed by Guillermo del Toro with a colorfully kinetic visual imagination that seldom lets up.
    • 74 Metascore
    • 75 Owen Gleiberman
    In Monster Theron undergoes one of the most startling transformations in the history of movies.
    • 50 Metascore
    • 75 Owen Gleiberman
    It has a chillingly matter-of-fact cynicism that is very au courant.
    • 60 Metascore
    • 75 Owen Gleiberman
    The film's best trick is the way that it treats conspiracy as a kind of political ''Blair Witch,'' a monstrous murk that haunts us precisely because it can never be seen.
    • 62 Metascore
    • 75 Owen Gleiberman
    If you want to see the missing link between John Wayne's squint and Clint Eastwood's sneer, look no further than Charlton Heston in Major Dundee.
    • 65 Metascore
    • 75 Owen Gleiberman
    This homicide thriller has a tantalizingly morbid atmosphere of unease.
    • 50 Metascore
    • 75 Owen Gleiberman
    The movie is also brisk and wholehearted and smarter than you expect.
    • 65 Metascore
    • 75 Owen Gleiberman
    Playing Mr. Perfect, Brendan Fraser — yes, Encino Man — proves a smart and likable actor, alive to what’s going on around him. Sidney Poitier proved you could keep your integrity even in a role like this, and Fraser does too.
    • 63 Metascore
    • 75 Owen Gleiberman
    Naked Gun 33 1/3 has a sluggish, one-gag-at-a- time rhythm, and it aims at too many soft targets. Aside from the Oscar sequence, the movie’s big satirical coup is a send-up of prison-escape pictures (yawn).
    • 60 Metascore
    • 75 Owen Gleiberman
    I do wish that Overnight caught in more precise detail what Duffy, who finally made his film on the cheap at an obscure studio, did to tick off the Miramax powers. Imagining it, though, is half the fun.
    • 67 Metascore
    • 75 Owen Gleiberman
    Lin works with a rhythmic observational flair that outweighs the movie's flaws. It's a long way from Long Duk Dong.
    • 62 Metascore
    • 75 Owen Gleiberman
    Wittier and more consistent than the first Addams Family movie. Paul Rudnick’s script offers sharp-edged variations on the topsy-turvy Addams worldview, and it’s much better at getting the Addamses out into the straight world, where they can really do some damage.
    • 59 Metascore
    • 75 Owen Gleiberman
    It's like seeing the birth of the '60s, with great moments (including Neal Cassady doing speed-freak monologues).
    • 62 Metascore
    • 75 Owen Gleiberman
    As a fix of pop iconography, V for Vendetta is eyeball grabbing, even if it lacks the relentless videogame bravura that sold the Matrix films. As a movie, however, it's merely okay, with a pivotal dramatic weakness: Evey, for all the attentions of her revolutionary Svengali, remains, in essence, a bystander, and Portman, her head shaved, plays her like Joan of Arc as a tremulous Girl Scout.
    • 80 Metascore
    • 75 Owen Gleiberman
    Do Hou's films deserve to be seen? Absolutely, if only to end the myth that they're too perfect for this world.
    • 76 Metascore
    • 75 Owen Gleiberman
    Meticulous and detailed, a drug-world epic that holds you from moment to moment, immersing you in the intricate and sleazy logistics of crime. Yet the movie isn't quite enthralling; it's more like the ghost version of a '70s classic.
    • 56 Metascore
    • 75 Owen Gleiberman
    Even those of us who find anti-homosexual ''deprogramming'' to be hideously intolerant and naive may find ourselves oddly relieved that Mark is there (in a Christian rehab center).
    • 76 Metascore
    • 75 Owen Gleiberman
    The film's charm ends up worn out by the very perfection of Frank's con. We look at this teen wizard of rotating identity, and we realize we know everything about him except who he is.
    • 68 Metascore
    • 75 Owen Gleiberman
    Jim Jarmusch’s Night on Earth is an agreeably flaky comedy built around a surefire hook. Each of the film’s five segments consists of a single extended taxicab ride through a different city; the idea is that each excursion is taking place at exactly the same time. The movie is like a hipster’s ramshackle version of traveling around the world and never leaving the Hilton.
    • 71 Metascore
    • 75 Owen Gleiberman
    In Superstar in a Housedress, Curtis remains frozen in his flamboyance. The most resonant parts of the movie are, oddly, the interviews with his fellow glam bohemians.
    • 65 Metascore
    • 75 Owen Gleiberman
    Maxed Out, while occasionally muddled in its financial details, presents a more-accurate-than-not vision of a nation that is starting to look like a candidate for rehab, on both an individual and a national level, for its addiction to debt.
    • 52 Metascore
    • 75 Owen Gleiberman
    Could have used more of the shimmering elegance of the Day-Hudson comedies. Those movies had a true sparkle. This one's a likable piece of costume jewelry.
    • 65 Metascore
    • 75 Owen Gleiberman
    The Great Debaters is like one of those sentimentally revved youth-sports-team crowd-pleasers. This time, though, the sport is debating, and the setting is an elite black college in Marshall, Tex., in 1935
    • 67 Metascore
    • 75 Owen Gleiberman
    I'd be lying if I didn't admit that Rock School, Don Argott's amusing and spirited documentary, would seem a heck of a lot niftier if its fire hadn't already been stolen by "School of Rock."
    • 46 Metascore
    • 75 Owen Gleiberman
    An authentic real-world creep show -- better, if anything, than its predecessor.
    • 52 Metascore
    • 75 Owen Gleiberman
    Showcases a trio of terrific performances.
    • 63 Metascore
    • 75 Owen Gleiberman
    Shutter Island holds you, but it doesn't grip you. It's as if Scorsese had put his filmmaking fever on psychotropic drugs.
    • 75 Metascore
    • 75 Owen Gleiberman
    Holbrook makes Abner a shining-eyed, noble crank.
    • 65 Metascore
    • 75 Owen Gleiberman
    Ali
    For everything it gets right, Ali, following its superb first hour, begins to lose the vision, clarity, and structure necessary to bring its hero into full focus.
    • 42 Metascore
    • 75 Owen Gleiberman
    Provokes a suspense halfway between comedy and horror. I'm not sure if I enjoyed myself, exactly, but I could hardly wait to see what I'd be appalled by next.
    • 55 Metascore
    • 75 Owen Gleiberman
    Modest and prosaic, with an unfortunate fairy-tale ending (yes, it features Tom Jones).
    • 51 Metascore
    • 75 Owen Gleiberman
    The Net is an efficient, workmanlike thriller that, at its best, does a canny job of exploiting the more fanciful edges of computer-age dread.
    • 54 Metascore
    • 75 Owen Gleiberman
    The House of Yes is knowingly overripe, a kitsch melodrama that dares to make incest sexy.
    • 36 Metascore
    • 75 Owen Gleiberman
    As stagy and awkward as some of the Warhol/Morrissey films of the early '70s.
    • 61 Metascore
    • 75 Owen Gleiberman
    It took gifted hucksters to make this movie, a funny and spirited - what to call it?
    • 57 Metascore
    • 75 Owen Gleiberman
    The film reveals, rather delectably, how potent the power of suggestion can be in a world gone madly groupie.
    • 59 Metascore
    • 75 Owen Gleiberman
    DiCaprio does more than disappear behind steely glasses and prosthetic old-age makeup. He transforms himself, in a feat of acting, from the inside out.
    • 58 Metascore
    • 75 Owen Gleiberman
    The movie is red meat for anyone who thrives on a certain brand of punchy, in-your-face emotional shock value. Yet the pull of what happens on screen came, for me, with a major qualification: I went with it, but I didn't totally buy it. The film is a contraption that spreads its darkness like whipped butter on a roll.
    • 62 Metascore
    • 75 Owen Gleiberman
    The thrust of the movie is that even for Jerry, the quintessential scientist of stand-up, comedy is very, very hard to do. By the end, you're closer to knowing why.
    • 32 Metascore
    • 75 Owen Gleiberman
    There's no denying that Scott is a wizard of the narcotic-flash school. In The Fan, he uses his chromium-edged technique to evoke a dread-saturated consumerist America in which the most beloved institutions have grown mercenary and hard.
    • 52 Metascore
    • 75 Owen Gleiberman
    Breaking Dawn - Part 2 starts off slow but gathers momentum, and that's because, with Bella and Edward united against the Volturi, the picture has a real threat.
    • 58 Metascore
    • 75 Owen Gleiberman
    No one is going to confuse The Firm with art, but its high- cholesterol virtues-a story that keeps you guessing, a dozen meaty character turns-are enough to send you home sated.
    • 56 Metascore
    • 75 Owen Gleiberman
    On screen, Twilight is repetitive and a tad sodden, too prosaic to really soar. But Hardwicke stirs this teen pulp to a pleasing simmer.
    • 49 Metascore
    • 75 Owen Gleiberman
    American Reunion is about the comedy of middle-class men who can't be satisfied with sex until it looks like porn.
    • 53 Metascore
    • 75 Owen Gleiberman
    If you can watch Popper's most trusted penguin finally get to fly and feel like you're soaring right up there with her, then you may just let this likable trifle whisk you back to childhood.
    • 56 Metascore
    • 75 Owen Gleiberman
    Beneath The Corruptor's explosive body count is a rock-solid, visually slick crime thriller set in the squalid netherworld of Manhattan's Chinatown.
    • 58 Metascore
    • 75 Owen Gleiberman
    The movie is like Doctor Dolittle remade as a therapeutic sudser. By the end, it got to me.
    • 61 Metascore
    • 75 Owen Gleiberman
    It's all a bit shapeless, yet made with sincerity and taste, and the two actors seize your sympathy.
    • 46 Metascore
    • 75 Owen Gleiberman
    Bullock gives it her all; she's bristling and alive on screen in a way that she hasn't been since ''Speed.''
    • 56 Metascore
    • 75 Owen Gleiberman
    Atkinson's goofball grotesquerie never lets up -- right through to the inspired finale.
    • 52 Metascore
    • 75 Owen Gleiberman
    John August directs it briskly, as a gossip-era "Twilight Zone" of image and reality.
    • 55 Metascore
    • 75 Owen Gleiberman
    This time we expect to be played, but the twist is that we're also touched -- which, the film implies, is the cinema's own form of deception.
    • 78 Metascore
    • 75 Owen Gleiberman
    Writer-director Paul Thomas Anderson crafts a plot of manipulation and chance, in which some zigs and zags are more convincing than others. Still, his feel for scuzz, for people living at the raw extremes of appetite, is palpable.
    • 44 Metascore
    • 75 Owen Gleiberman
    The ironic thrust of the movie is that Jobs' humanity is there in that perfectionistic insanity. He pushes and pushes to make home computers more and more appealing, accessible, and user-friendly, and that's his great gift to the world.
    • 50 Metascore
    • 75 Owen Gleiberman
    Moves along with a quietude, a scruffy direct plainness that has long gone out of style.
    • 41 Metascore
    • 75 Owen Gleiberman
    Lands on an imaginative fault line somewhere between tackiness and awe.
    • 70 Metascore
    • 75 Owen Gleiberman
    Stuffed--indeed, overstuffed--with heart, soul, audacity, and blarney. You may not believe a minute of it, but you don't necessarily want to stop watching.
    • 65 Metascore
    • 75 Owen Gleiberman
    In spirit, I Am Legend is caught in some abstractly doom-laden sci-fi past. For what it is, though, the film is well-done, a case of suspenseful competence trumping questionable relevance.
    • 37 Metascore
    • 75 Owen Gleiberman
    Stephens stages Another Gay Movie in a style of low-budget fluorescent overkill, but a handful of the gags are low-down funny.
    • 54 Metascore
    • 75 Owen Gleiberman
    What's infectious about Groove is the friendly, almost innocent way that its brat pack of digital-age bohemians seek liberation in a world where there is nothing left to rebel against.
    • 42 Metascore
    • 75 Owen Gleiberman
    Snoop invests snarling meanness with as much authority as Clint Eastwood used to. As an actor, does this Dogg know any more tricks? At this point, he may not have to.
    • 60 Metascore
    • 75 Owen Gleiberman
    An enjoyable piece of hokum – your basic doom-laden parable of metaphysical sci-fi mind control, only with a surprise romantic sparkle.
    • 42 Metascore
    • 75 Owen Gleiberman
    It does possess a certain backward-glancing innocent appeal.
    • 71 Metascore
    • 75 Owen Gleiberman
    It's Alan Cumming who takes over the movie as the impish mastermind Fegan Floop.
    • 63 Metascore
    • 75 Owen Gleiberman
    The movie walks the line of surreal vulgarity (you will not, repeat not, expect the penis), yet most of it, intentionally, is less nutzoid than your average megaplex genre parody.
    • 74 Metascore
    • 75 Owen Gleiberman
    With all of that going for it, it's hard to see how In the Line of Fire could be anything less than rock-solid entertainment-and, indeed, it is. Yet it's never more than that.
    • 52 Metascore
    • 75 Owen Gleiberman
    Charlie's Angels is finally Cameron Diaz's movie. Her Natalie has a heart as insecure as her body is smokin'.
    • 45 Metascore
    • 75 Owen Gleiberman
    Let's not sell Tyler Perry short. As the vinegar-witted Madea, he's a drag performer of testy charm, but in his overlit patchwork way he's also making the most primal women's pictures since Joan Crawford flexed her shoulder pads.
    • 76 Metascore
    • 75 Owen Gleiberman
    This is how a Western today tries to give us more bang for the buck. By working this hard to be a crowd-pleaser, though, it may please fewer crowds.
    • 45 Metascore
    • 75 Owen Gleiberman
    It's been a while since we saw a demagogic feminist exploitation revenge drama, and Descent, while top-heavy with ''agenda,'' is shrewdly done.
    • 57 Metascore
    • 75 Owen Gleiberman
    As a movie, Wayne's World isn't much more than an amiable goof, yet it's carried along by the flaked-out exuberance of its two stars.
    • 43 Metascore
    • 75 Owen Gleiberman
    360
    360 has a circular structure that's deftly pleasing, though the human drama is just facile enough to make it seem, in the end, a little too much like connect the dots played with people.
    • 56 Metascore
    • 75 Owen Gleiberman
    Costner's surfer-bum affectlessness works here; he turns the Mariner into the world's most jaded lifeguard.
    • 69 Metascore
    • 75 Owen Gleiberman
    Who said that an environmental horror film couldn't be didactic and spooky at the same time?
    • 48 Metascore
    • 75 Owen Gleiberman
    Project X, likewise, serves up the frat house/Spring Break/Snooki-and-Sitch-on-a-bender antics that many in the audience will have been staring at for years, and implies that it's breaking down bold new barriers of misbehavior. In the end, though, it ain't nothin' but a party.
    • 57 Metascore
    • 75 Owen Gleiberman
    It's ''The Matrix'' meets ''TRON'' meets ''Jimmy Neutron,'' with all the cheery (if not cheesy) evanescence of a Jolly Rancher commercial. I mean that as a compliment.
    • 66 Metascore
    • 75 Owen Gleiberman
    If you want a whiff of how unironic the 1970s were, consider bowling, a sport that on any given weekend was broadcast (usually on ABC) with the hushed solemnity of a moon launch.
    • 60 Metascore
    • 75 Owen Gleiberman
    A canny, derivative, wildly gruesome portrait of a London sociopath who's the scariest of sadists, in part because he's also a very courtly one.
    • 55 Metascore
    • 75 Owen Gleiberman
    It's obligatory for a horror film to feature exploitative sex as an appetizer, but Roth, even as he fulfills the sleaze imperative, does something shrewder: He mocks his heroes, presenting them as cold-eyed horndog jerks who fail to see that they've wandered into an entire country of exploitation.
    • 65 Metascore
    • 75 Owen Gleiberman
    An agreeable mischievous romp.
    • 60 Metascore
    • 75 Owen Gleiberman
    Jonathan Nossiter's second feature (after the intricate and haunting ''Sunday'') strikes unnerving chords of mystery and dismay as it fuses the sinister, jump cut dislocations of a metaphysical thriller like ''Don't Look Now'' with a pain soaked meditation on love, guilt, marriage, and adultery.
    • 58 Metascore
    • 75 Owen Gleiberman
    Hardy, speaking in low, flat, almost musically macho tones, has the bruiser charisma of a caveman Kevin Costner. It's not the money he's clinging to - it's the freedom.
    • 82 Metascore
    • 75 Owen Gleiberman
    It's an academic meditation in underworld-thriller drag -- a movie that looks about as close to a straight-ahead, down-and-dirty genre entertainment as anything the director has made since his exploding-head horror days.
    • 76 Metascore
    • 75 Owen Gleiberman
    Eckhart shows a new kind of foreboding anger. He's powerful as a man who will do anything to crack the ice.
    • 64 Metascore
    • 75 Owen Gleiberman
    A bright, whirling pinwheel of a movie that tosses around special effects like confetti, but the techno magic is graced with a touch of sensuality.
    • 53 Metascore
    • 75 Owen Gleiberman
    The film is a sobering chronicle of the depressing circus of persecution and pseudo-scandal that was the Clinton years. But why did the President provoke such ire? A movie with insight into that might actually feel new.
    • 63 Metascore
    • 75 Owen Gleiberman
    As the movie goes on, these fleshy little beings turn into…well, people. And that's something to see. But Babies, without falsifying its subject, could have used a more soul-stirring sense of showbiz -- that is, a riper display of infantile special effects.
    • 72 Metascore
    • 75 Owen Gleiberman
    Beneath its exploration of fatherly distance, this is really a portrait of why cranks make better artists than earnest nice guys.
    • 65 Metascore
    • 75 Owen Gleiberman
    A clever rock-world satire, with some lively take-offs on the TMZ-gossip magazine circus, but it's also too long, and by the time of the inevitable Las Vegas sequence, it starts to grow repetitive.
    • 53 Metascore
    • 75 Owen Gleiberman
    Yet if Bachelorette takes the form of a romantic ensemble comedy, it's purged of any true romantic feeling. You'll laugh, maybe a lot, but you won't feel great about it in the morning.
    • 64 Metascore
    • 75 Owen Gleiberman
    A deft Stephen King freak-out.
    • 39 Metascore
    • 75 Owen Gleiberman
    What Planes lacks in novelty, it makes up for with eye-popping aerial sequences and a high-flying comic spirit.
    • 71 Metascore
    • 75 Owen Gleiberman
    Penn is a true talent, but there's just enough languid pretension to The Pledge to make you wonder if he's ultimately more interested in parading his promise as a director than in fulfilling it.
    • 87 Metascore
    • 75 Owen Gleiberman
    It makes sense that L'Enfant has been hailed as a masterpiece, since a masterpiece is what it's trying, in every unvarnished frame, to be. If you wandered unknowingly into the film, however, you would see this: a stark, fascinating, and naggingly detached character study.
    • 55 Metascore
    • 75 Owen Gleiberman
    For a Good Time, Call... tells the tender tale of two roommates who team up to launch a phone-sex line. Whatever their virtues or flaws, each of these movies makes the dirtiest episode of "Sex and the City" look like Doris Day fluff.
    • 43 Metascore
    • 75 Owen Gleiberman
    Del Toro, with his melancholy-brute features, endows this raging beast with some of the ''Why me?'' poignance you may remember from Lon Chaney Jr.'s performance in the original.
    • 55 Metascore
    • 75 Owen Gleiberman
    The film offers true insight into the patterns of war crimes, even if the songs sound disquietingly close to a call to violence.
    • 54 Metascore
    • 75 Owen Gleiberman
    Out from behind his Captain America shield, Chris Evans proves a quirky and compelling actor as Mike Weiss, a personal-injury lawyer who spends most of his time doing drugs.
    • 64 Metascore
    • 75 Owen Gleiberman
    I was amused more or less throughout by the ingeniously designed and executed stunt that is Team America.
    • 80 Metascore
    • 75 Owen Gleiberman
    Set in the 1960s, Robert De Niro's directorial debut is a work of vitality and flair. [22 Oct 1993, p.58]
    • Entertainment Weekly
    • 80 Metascore
    • 75 Owen Gleiberman
    All staged as a harsh poem of survival, with no great psychological interest, yet the ending carries a surprise feminist tug that’s worth the wait.
    • 76 Metascore
    • 75 Owen Gleiberman
    What lights Cinèvardaphoto is Varda's ageless ability to merge her spirit with that of the images she shows us.
    • 67 Metascore
    • 75 Owen Gleiberman
    This Is It offers a raw and endearing sketch of a genius at work.
    • 41 Metascore
    • 75 Owen Gleiberman
    Nothing more than a sort of dumb, sort of clever fish out of water comedy.
    • 55 Metascore
    • 75 Owen Gleiberman
    The murder as entertainment premise of Series 7 is proof that even the blackest of humor is no longer particularly outrageous.
    • 74 Metascore
    • 75 Owen Gleiberman
    If The Bridesmaid is middle-drawer Chabrol, it's almost worth going to just to watch Laura Smet, a vamp of not-so-basic instinct.
    • 71 Metascore
    • 75 Owen Gleiberman
    This modern slice of neorealism has been made with a skill, and humanity, that suggests Bahrani may have a "Bicycle Thief" in him yet.
    • 63 Metascore
    • 75 Owen Gleiberman
    For a while, The Last Exorcism shrewdly exploits our voyeurism, as it sustains the teasing question of whether there's actually anything supernatural going on. The payoff, however, isn't scary enough.
    • 53 Metascore
    • 75 Owen Gleiberman
    Williams gives an inspired comic performance. Unfortunately, he outclasses the movie, which is basically a patchwork rip-off of Tootsie.
    • 55 Metascore
    • 75 Owen Gleiberman
    What holds the movie together, however, is Gibson's broodingly responsive performance.
    • 66 Metascore
    • 75 Owen Gleiberman
    A modest vérité portrait of Wilco, the engagingly melodious, deeply unglam alt-folk rockers.
    • 57 Metascore
    • 75 Owen Gleiberman
    Miss Potter, right to the end, is the definition of a "nice" movie, and that makes it a genuine oddball in a universe of increasingly distressed and uncivilized pop culture.
    • 66 Metascore
    • 75 Owen Gleiberman
    Stolidly corny, old-fashioned pulp fun.
    • 55 Metascore
    • 75 Owen Gleiberman
    Touchy Feely is minor, but these people are good company.
    • 53 Metascore
    • 75 Owen Gleiberman
    It's a pleasure to encounter a confectionary love story in which a man and woman of age and experience discover feelings that youth, more and more, has a patent on in Hollywood.
    • 69 Metascore
    • 75 Owen Gleiberman
    An enjoyable pop projection of post-9/11 anxiety.
    • 64 Metascore
    • 75 Owen Gleiberman
    To me, the most potent dimension of The U.S. vs. John Lennon is the way that it captures the contradictory romanticism of Lennon the radical.
    • 96 Metascore
    • 75 Owen Gleiberman
    Ratatouille is a blithe concoction, as well as a miraculously textured piece of animated design.
    • 56 Metascore
    • 75 Owen Gleiberman
    Going Shopping is sharp and funny about all the things that shopping can mean to the women who live to do it, and even to those who don't.
    • 37 Metascore
    • 75 Owen Gleiberman
    Does all it can not to dehumanize Chong.
    • 71 Metascore
    • 75 Owen Gleiberman
    Mostly, Warrior is a showcase for its up-and-coming stars. Edgerton, from last year's "Animal Kingdom," and Hardy, who stole scenes as the identity forger in "Inception."
    • 41 Metascore
    • 75 Owen Gleiberman
    Though a great deal of this material (e.g., Troopergate) seems like old news, Broomfield is so dogged that he makes 
 a case, in a deeper way than we've seen, that there's a 
 terrifying remorselessness to Palin's feuding nature.
    • 53 Metascore
    • 75 Owen Gleiberman
    Soul Surfer, while formulaic in design, is an authentic and heartfelt movie.
    • 47 Metascore
    • 75 Owen Gleiberman
    Gibson, in a disarmingly nimble, fast break performance, makes Nick's new hyperempathy look like the essence of virile panache.
    • 43 Metascore
    • 75 Owen Gleiberman
    this unfairly maligned sci-fi comedy testifies that Eddie Murphy still has the gift of surprise.
    • 59 Metascore
    • 75 Owen Gleiberman
    Rarely has a movie captured the obscene violence of sex trafficking with such unvarnished grubbiness. In the end, though, The Whistleblower is a corporate thriller.
    • 69 Metascore
    • 75 Owen Gleiberman
    Barton Fink has an atmosphere of languid comic anxiety (it's like a cross between "Eraserhead" and "Angel Heart"), and it's fun to watch, if only because you have no idea what's coming next.
    • 64 Metascore
    • 75 Owen Gleiberman
    Badly lit and at times, awkwardly inspirational, yet there's real feeling in it, especially when the movie suggests that Tourette's syndrome is every bit as pure an expression of the spirit as it is a ''disorder.''
    • 46 Metascore
    • 75 Owen Gleiberman
    The surprise of The Ringer is that the movie is pretty damn funny.
    • 55 Metascore
    • 75 Owen Gleiberman
    Cool, assured, emotionally remote, Merchant Ivory's Surviving Picasso is never less than watchable, but it's also a cinematic paradox, a movie that works to capture Picasso from every angle yet somehow misses the fire in his belly.
    • 45 Metascore
    • 75 Owen Gleiberman
    Moore makes Halley's awakening organic and touching. In an age when most teenagers are up to their eyeballs in postmodern consumer glitz, her movies seem radical not just in their retro squareness but in their unfashionable embrace of faith over ironic flippancy.
    • 41 Metascore
    • 75 Owen Gleiberman
    A twisty, showy, atmosphere-saturated drama that revels (in a post-post-Tarantino-and-''Trainspotting'' way) in sadism and in-your-face seediness -- and attracts a cast of coolios primed to play extreme.
    • 65 Metascore
    • 75 Owen Gleiberman
    The atmosphere of gentle communal chaos is authentic enough to become the movie's dramatic center.
    • 55 Metascore
    • 75 Owen Gleiberman
    The camera loves Banderas -- a velvet stud -- as much as it did the young Clint Eastwood.
    • 52 Metascore
    • 75 Owen Gleiberman
    If you take the film on its own terms, as a kind of Elvis movie dipped in guacamole, it's quirkily engrossing. Ferrell is a good straight actor for the same reason that he's an inspired comedian: He commits himself to every moment.
    • 88 Metascore
    • 75 Owen Gleiberman
    What it comes down to is superbly staged battle scenes and moral alliances forged in earnest yet purged of the wit and dynamic, bristly ego that define true on-screen personality.
    • 56 Metascore
    • 75 Owen Gleiberman
    It's a heartfelt movie that could have used a zigzaggier undercurrent, though Olyphant, in the sort of role that Paul Newman used to swagger through, has a star's easy command.
    • 68 Metascore
    • 75 Owen Gleiberman
    Roth, there's no denying, creates considerable suspense out of our desire to confront the forbidden.
    • 69 Metascore
    • 75 Owen Gleiberman
    Had ''Boogie Nights'' been the tale of a California dreamer with a really long skateboard, the movie's delirious first half would have been ''Dogtown and Z-Boys,'' and its downbeat conclusion would be Stoked.
    • 52 Metascore
    • 75 Owen Gleiberman
    When it stays in the classroom, Detachment is a scrappy testament - to the futility of even trying to reach students who are cut off from the possibilities of knowledge, and to the way that our teachers are slowly being driven nuts.
    • 51 Metascore
    • 75 Owen Gleiberman
    A little of this sort of thing goes a long way, but no one does it better than Myers.
    • 28 Metascore
    • 75 Owen Gleiberman
    The movie, in its basic concept, is corny and contrived, but as written and directed by Justin Zackham, it's executed in a pleasantly wry and understated fashion.
    • 72 Metascore
    • 75 Owen Gleiberman
    Pi
    The movie's freakazoid intensity gets to you, but there's something at once cramped and show-offy in Aronofsky's refusal to even slighty vary its atmosphere of shock-corridor burnout.
    • 32 Metascore
    • 75 Owen Gleiberman
    The movie, while heartfelt and vividly shot, takes too many rote genre turns.
    • 32 Metascore
    • 75 Owen Gleiberman
    A good movie? Hardly. But more than enough to pass a dog day afternoon.
    • 66 Metascore
    • 75 Owen Gleiberman
    It's the closest the movies have come in a while to the nudgy, knowing fairy-tale enchantment of "The Princess Bride."
    • 57 Metascore
    • 75 Owen Gleiberman
    Smart People, unlike "Sideways" or "The Savages," has a plot that's a little too rote.
    • 59 Metascore
    • 75 Owen Gleiberman
    The Holocaust scenes are wrenching, the past-meets-present dialectics less so.
    • 49 Metascore
    • 75 Owen Gleiberman
    Allen's latest, Cassandra's Dream, is one of his debonair ''small'' entertainments, the closest that he has come to doing a tidy, no-frills, down-and-dirty genre thriller.

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