Owen Gleiberman

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For 2,623 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Happiness
Lowest review score: 0 Best Laid Plans
Score distribution:
2623 movie reviews
    • 66 Metascore
    • 100 Owen Gleiberman
    There's a poetic irony to the idea that it took a female filmmaker to finally do justice to Philip Roth on screen.
    • 66 Metascore
    • 100 Owen Gleiberman
    Maggie Gyllenhaal is such a miracle of an actress that she makes you respond to the innocence of Sherry's desperate, selfish destruction.
    • 82 Metascore
    • 100 Owen Gleiberman
    Pawlikowski has made a romance that becomes a horror movie in which love, more than anything around it, is a delusionary fever to fear.
    • 73 Metascore
    • 100 Owen Gleiberman
    It's a poison bonbon tastier than just about anything else out there.
    • 75 Metascore
    • 100 Owen Gleiberman
    Nader became famous as a "consumer advocate," but as the thrilling first hour of An Unreasonable Man makes clear, that humdrum bureaucratic term didn't do justice to his courage, his vision.
    • 61 Metascore
    • 100 Owen Gleiberman
    Merrily outrageous, over-the-top fun.
    • 62 Metascore
    • 100 Owen Gleiberman
    In Oswald's Ghost, his vast chronicle of the JFK assassination and its cultural aftermath, Stone uses little-seen footage to assemble the events of Nov. 22, 1963, with a fascinating present-tense density.
    • 74 Metascore
    • 100 Owen Gleiberman
    At 88 minutes, Tabloid is short and sweet (it's pure movie candy), but by the end we've forged an emotional connection to Joyce McKinney at the deep core of her unapologetic fearless/nutty valor. And that's what really makes a great tabloid story: It's a vortex that's also a mirror.
    • 86 Metascore
    • 100 Owen Gleiberman
    The film is sublime entertainment, at once ticklish and suspenseful, cynical and sincere. By its very existence, Altman's comedy about the death of Hollywood lets you know that movies are still alive and kicking.
    • 65 Metascore
    • 100 Owen Gleiberman
    Along the way, Black Dynamite blends satire, nostalgia, and cinema deconstruction into a one-of-a-kind comedy high.
    • 78 Metascore
    • 100 Owen Gleiberman
    Fred Leuchter is just one deluded figure, but by the end of this great and chilling sick-joke documentary he stands as a living icon of the banality of evil.
    • 64 Metascore
    • 100 Owen Gleiberman
    He (Spurlock) takes Comic-Con seriously. He talks to Kevin Smith, Harry Knowles, and other famous grown-up geeks, but mostly he follows a handful of people whose dream it is to pass through the fan/professional looking glass and carve out a place for themselves in the industry of fantasy.
    • 67 Metascore
    • 100 Owen Gleiberman
    The movie is tough-minded: It zeroes in on Patrick's anger at dating a closeted football star, and it doesn't let Charlie off the hook for his cruelty or self-pity.
    • 77 Metascore
    • 100 Owen Gleiberman
    Ulee's Gold is a story of redemption, and Nunez doesn't make redemption look any easier than it is.
    • 85 Metascore
    • 100 Owen Gleiberman
    An exhilarating hall-of-mirrors look at what happens when global art fame turns anonymous, artists become objects, fans turn into artists, and the whole what's-sincere-and-what's-a-sham spectacle is more fun than art was ever supposed to be.
    • 69 Metascore
    • 100 Owen Gleiberman
    Beautifully edited, Go Tigers! is an enthralling look at the drama that can transpire in the autumn of one small town on any given Friday.
    • 63 Metascore
    • 100 Owen Gleiberman
    Of the idiosyncratic ''little'' movies that Soderbergh has made to clear his head (Full Frontal, Schizopolis), this is the first that truly connects.
    • 72 Metascore
    • 100 Owen Gleiberman
    Those Oompa-Loompas are the beat, and soul, of Burton's finest movie since "Ed Wood": a madhouse kiddie musical with a sweet-and-sour heart.
    • 58 Metascore
    • 100 Owen Gleiberman
    Jim Carrey's performance is an impersonation on the level of genius.
    • 80 Metascore
    • 100 Owen Gleiberman
    Room 237 makes perfect sense of "The Shining" because, even more than "The Shining" itself, it places you right inside the logic of how an insane person thinks.
    • 84 Metascore
    • 100 Owen Gleiberman
    This is the rare movie that gets you to fall in love with characters you don't even like.
    • 80 Metascore
    • 100 Owen Gleiberman
    Remains the only rock & roll film that exerts the saturnine intensity of a thriller.
    • 81 Metascore
    • 100 Owen Gleiberman
    Like David Lynch, Quentin Tarantino, and Paul Thomas Anderson, Solondz revels in ironic pop passion. It's a signature moment when he transforms Air Supply's "All Out of Love" into a geek-love rhapsody.
    • 86 Metascore
    • 100 Owen Gleiberman
    The movie is pulp, yet it attains a surprising emotional power-especially when Anjelica Huston's Lilly, a survivor who'll do whatever it takes to master her surroundings, is on-screen.
    • 93 Metascore
    • 100 Owen Gleiberman
    Spielberg restages the Holocaust with an existential vividness unprecedented in any nondocumentary film: He makes us feel as if we're living right inside the 20th century's darkest-and most defining-episode.
    • 77 Metascore
    • 100 Owen Gleiberman
    It’s a film that spills over with laughs (most of them good, a few of them shticky) and tears (all of them earned), supporting characters who are meant to slay us (and mostly do) with their irascible sharp tongues, and dizzyingly extended flights of physical comedy.
    • 47 Metascore
    • 100 Owen Gleiberman
    Someone has finally done it -- made a sexually explicit feature that is also a genuine and harrowing work of erotic drama.
    • 89 Metascore
    • 100 Owen Gleiberman
    Ferguson spotlights two massive mistakes: the looting that was allowed to continue, destroying Iraqi infrastructure and morale; and--far more revelatory -- the apocalyptically stupid decision to disband the Iraqi army, sending half a million angry soldiers into the streets.
    • 85 Metascore
    • 100 Owen Gleiberman
    For a healthy stretch, The Salesman is even more low-key, minimal, and contained than the earlier Farhadi films. Yet the writer-director’s technique is just as assured as before. Every shot is in place, every line leading to an outcome that feels quietly up for grabs.
    • 72 Metascore
    • 100 Owen Gleiberman
    A love poem to the New York City of the '50s and '60s, when Smith, the visionary of camp (Andy Warhol stole from him), more or less invented performance art.

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