Owen Gleiberman

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For 2,652 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 3.6 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Rampart
Lowest review score: 0 The Host
Score distribution:
2652 movie reviews
    • 82 Metascore
    • 91 Owen Gleiberman
    Dark and giddy at the same time, Leaving Las Vegas takes us into dreamy, intoxicated places that no movie about an alcoholic has gone before.
    • 80 Metascore
    • 91 Owen Gleiberman
    A richly tender and moving experience.
    • 68 Metascore
    • 91 Owen Gleiberman
    As a flight of fantasy, Jurassic Park lacks the emotional unity of Spielberg's classics ("Jaws," "Close Encounters," "E.T."), yet it has enough of his innocent, playful virtuosity to send you out of the theater grinning with delight.
    • 89 Metascore
    • 91 Owen Gleiberman
    This is perhaps the only science-fiction film that can be called transcendental.
    • 65 Metascore
    • 91 Owen Gleiberman
    A deft, funny, shrewdly unsettling tribute to such slasher-exploitation thrillers as "Terror Train," "New Year's Evil," and Craven's own "A Nightmare on Elm Street."
    • 77 Metascore
    • 91 Owen Gleiberman
    The old-world-meets-new mesh is incarnated in the movie's soundtrack, a joyful effusion of disco Bollywood that, by the end of Monsoon Wedding, sent my spirit soaring out of the theater.
    • 88 Metascore
    • 91 Owen Gleiberman
    A buoyant, funny, and disarmingly humane comedy of beautiful losers in revolt.
    • 51 Metascore
    • 91 Owen Gleiberman
    After a while, a didactic overdeliberateness seeps into Noé's design, but there's no doubt that he's a new kind of dark film wizard: a poet of apocalyptic shock.
    • 69 Metascore
    • 91 Owen Gleiberman
    The film may be bloody, but it's also bloody gorgeous: a grandly fetishized epic of cinematic aggression. It's a tale of vengeance that hinges on Tarantino's love of ferocity as spectacle -- his immersion in action and exploitation, his addiction to the jazzy catharsis of junk-film kicks.
    • 56 Metascore
    • 91 Owen Gleiberman
    This is the richest role Paltrow has had since ''Shakespeare in Love,'' and she rises to the challenge. She digs deep into Plath's mercurial nature, giving us a Sylvia who's fiercely independent and alive yet burdened with demons of insecurity that bubble up in a rage.
    • 76 Metascore
    • 91 Owen Gleiberman
    Using newsreel footage, clips of artistic propaganda (e.g., joyful proletarian farm ballets), and interviews with survivors, the movie draws us into the annihilating fervor of an era in which purge followed upon purge, in escalating waves of terror and control.
    • 62 Metascore
    • 91 Owen Gleiberman
    Has a fractured fairy-tale charm, even if it isn't a nonstop laugh riot.
    • 71 Metascore
    • 91 Owen Gleiberman
    On the eve of Wuornos' 2002 execution, Broomfield digs deep into her abusive hell of a background (beatings, incest, sleeping homeless in the frozen Michigan woods) as well as her quasi-psychotic defense mechanisms.
    • 95 Metascore
    • 91 Owen Gleiberman
    Nearly four decades ago, Pontecorvo anatomized the very form of modern terrorist warfare: the hidden cells, the cultish leaders, the brutish cycle of attack and counterattack.
    • 80 Metascore
    • 91 Owen Gleiberman
    The nature of silent comedy was to elevate its heroes into myths, but after ''Charlie'' I can't wait to see Chaplin's movies again, this time to glimpse the man on the other side of the icon.
    • 65 Metascore
    • 91 Owen Gleiberman
    Branagh, chewing on a plummy Georgia accent, makes the divorced, boozing, and womanizing Magruder a smug yet touchingly vulnerable legal player.
    • 31 Metascore
    • 91 Owen Gleiberman
    Peter Berg's scandalous sick-joke thriller is packed with rude and clever twists, and it delves, with surprising force, into the hypocritical postures of corporate-era male bonding. The cast is terrific, especially Christian Slater.
    • 85 Metascore
    • 91 Owen Gleiberman
    The triumph of ''Spring, Summer'' is that even those of us who don't happen to be Buddhists can catch a glimpse of ourselves in the spinning wheel of hope, destruction, suffering, and bliss.
    • 57 Metascore
    • 91 Owen Gleiberman
    The rare commercial comedy that leaves you entranced by what can happen only in the movies.
    • 82 Metascore
    • 91 Owen Gleiberman
    It's wonderful to see a Japanese movie in which a samurai, for all his somber discipline and skill, is also a touching and complicated ordinary man.
    • 78 Metascore
    • 91 Owen Gleiberman
    Godzilla is still the most awesome of tacky movie monsters.
    • 65 Metascore
    • 91 Owen Gleiberman
    Just when you're certain that Jarmusch is treading water with his borderline-tedious cleverness, something happens: Coffee and Cigarettes turns into a movie FULL of talk -- rich, supple, hilarious, masterfully orchestrated talk.
    • 75 Metascore
    • 91 Owen Gleiberman
    Has a rowdy, jumpin'-jive vivacity. It's not quite as emotionally rounded as ''Shrek'' was... but it's got heart and delirium in equal doses, as well as a firecracker rhythm all its own.
    • 77 Metascore
    • 91 Owen Gleiberman
    If Linklater goes to a bit of an extreme here, it's in making both characters so intelligent and sincere, so ardent and giving, that they seem a little too good to believe.
    • 75 Metascore
    • 91 Owen Gleiberman
    The beauty of Baadasssss! is the way Mario Van Peebles salutes his father's truth by coaxing it into legend.
    • 61 Metascore
    • 91 Owen Gleiberman
    Deconstructing Harry is Woody Allen's naughty-boy confessional movie, a disquietingly candid and funny portrait of a pathological narcissist.
    • 86 Metascore
    • 91 Owen Gleiberman
    Gliding from the physical to the metaphysical, Andersen reveals how films like ''Chinatown'' effectively remade the reality of Los Angeles, replacing history with myth in a way that now anchors the city more than that history itself does.
    • 60 Metascore
    • 91 Owen Gleiberman
    A smashingly effective documentary -- I found it more resonant than ''Fahrenheit 9/11'' -- yet to say that it's preaching to the converted would be generous; it's preaching to a microscopic sliver of the converted.

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