Owen Gleiberman
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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 Before Midnight
Lowest review score: 0 Say It Isn't So
Score distribution:
2,347 movie reviews
    • 72 Metascore
    • 25 Owen Gleiberman
    Antal has assembled what may be the single most colorless group of mangy lowlifes I have ever seen.
    • 70 Metascore
    • 25 Owen Gleiberman
    Isn't up to much of anything besides pretending that swearwords and snot-nosed insults, served up by Santa with an almost institutional monotony, aren't just naughty. They're -- big joke! -- incorrect.
    • 69 Metascore
    • 25 Owen Gleiberman
    A few more films like Tears of the Black Tiger, and kitsch will be on its way to having a bad name.
    • 69 Metascore
    • 0 Owen Gleiberman
    Why would filmmakers with this much talent work this hard to thumb their noses at everything they put on screen?
    • 67 Metascore
    • 33 Owen Gleiberman
    I gave up making heads or tails of Synecdoche, New York, but I did get one message: The compulsion to stand outside of one's life and observe it to THIS degree isn't the mechanism of art -- it's the structure of psychosis.
    • 67 Metascore
    • 25 Owen Gleiberman
    A glumly serious British mock rock doc: You could forgive the paucity of jokes if Brothers of the Head had anything to say, or if the '70s-vérité surface were remotely convincing.
    • 66 Metascore
    • 25 Owen Gleiberman
    Watching Pecker, his rickety new comedy about a teenage Baltimore shutterbug, it becomes clear that Waters has grown color-blind to his own sleazo-shock aesthetic.
    • 66 Metascore
    • 25 Owen Gleiberman
    It's one of those stultifying aftermath-of-
a-car-crash movies.
    • 65 Metascore
    • 33 Owen Gleiberman
    A brutally monotonous thriller.
    • 65 Metascore
    • 25 Owen Gleiberman
    You'd think that the film would ask you to be appalled at this scenario of forced servitude -- but no, it's treated as harmless and cute, like an Israeli ''Chico and the Man.''
    • 64 Metascore
    • 16 Owen Gleiberman
    It has that vintage Polish pace, their signature arch pomposity and rhythmless weirdness, only this time the brothers had to go and make a cosmic allegory of American dreams.
    • 64 Metascore
    • 25 Owen Gleiberman
    Inert dud of a hitmen-are-people-too comedy.
    • 62 Metascore
    • 16 Owen Gleiberman
    The result is a dead pile of information in search of a movie.
    • 62 Metascore
    • 33 Owen Gleiberman
    Since there is a mystery, the movie might have been entertaining camp had director Taylor Hackford staged it with pace, style, or a whisper of surprise. Instead, the plot just clunks forward-for two hours and 10 minutes.
    • 62 Metascore
    • 25 Owen Gleiberman
    The wedding, which turns the very concept of ''Greek'' into the sort of hideous, pandering clichés that look rejected from bad Jewish and Italian sitcoms.
    • 61 Metascore
    • 25 Owen Gleiberman
    Whenever an actress takes on a gritty working-class role, the audience does a gut check of authenticity. Either the actress gets it, like Melissa Leo did in "Frozen River," or she doesn't, like Michelle Monaghan as the spoilin'-for-a-fight truck-driver heroine of the inert indie dud Trucker
    • 61 Metascore
    • 33 Owen Gleiberman
    I love a good mind-bender, but it's getting more common these days to see thrillers that don't so much bend your mind as chop it, smash it, and place it in the Cuisinart. Trance, the new film directed by Danny Boyle is a high-brainiac art-world thriller that wants to do nothing more (or less) than give your head a majorly pleasurable spin.
    • 59 Metascore
    • 0 Owen Gleiberman
    If you look hard, you can make out a story in Femme Fatale, but it has nothing to do with the senseless pileup of jewel thievery, shutterbug voyeurism, and leggy sex bombs so shallow and bad they seem to have come out of a 1978 copy of Hustler magazine.
    • 58 Metascore
    • 0 Owen Gleiberman
    A fractious fiasco: whiplash camera movement set to raging blasts of death metal, a story so incoherent it made me wish I was watching, instead, the collected outtakes from Van Helsing.
    • 58 Metascore
    • 25 Owen Gleiberman
    The movie lacks even the misplaced fervor of obsession. It's lifeless kitsch.
    • 57 Metascore
    • 25 Owen Gleiberman
    I wish I could say that the film is half as intriguing as it sounds, but A Woman, a Gun... lacks the Coen brothers' precision, their diabolical game-board cleverness. It's a remake in shaggy outline only.
    • 57 Metascore
    • 33 Owen Gleiberman
    Most of this just seems, you know, so three years ago, so "Bourne" again.
    • 57 Metascore
    • 0 Owen Gleiberman
    Parts of the film play like the world's slowest and most insensitive reality show (Who Wants to Be an Octogenarian?).
    • 56 Metascore
    • 25 Owen Gleiberman
    So badly told that it ends up dissecting a corruption that exudes from nowhere but itself.
    • 56 Metascore
    • 0 Owen Gleiberman
    In every way dreadful.
    • 55 Metascore
    • 33 Owen Gleiberman
    Back to the Future Part III has that same sort of studio back-lot clunkiness. Only this time it's the audience that gets conked — by the sheer desperation of the whole enterprise.
    • 55 Metascore
    • 33 Owen Gleiberman
    The film is proof that if you repackage the classics (in this case, Dickens) for the youth market in an era of MTV dislocation, what you get, in essence, is postmodern Cliffs Notes with an alt-rock soundtrack.
    • 55 Metascore
    • 33 Owen Gleiberman
    Antonio Banderas is a charming and talented man, but in Take the Lead he lays on the old-world panache so thick - the accent, the flowery courtliness, the romance of romance - that he comes off like Dracula's metrosexual cousin.
    • 54 Metascore
    • 0 Owen Gleiberman
    A magical-realist sitcom war farce that ends up being about nothing but its own slovenly smugness.
    • 53 Metascore
    • 25 Owen Gleiberman
    None of the faux icons comes close to being a character. Instead, they are contrasted with a group of nuns who skydive without parachutes. Could this possibly be a metaphor for Korine's filmmaking? It certainly goes splat.

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