Owen Gleiberman

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For 2,631 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 On Chesil Beach
Lowest review score: 0 Sleepwalking
Score distribution:
2631 movie reviews
    • 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.
    • 53 Metascore
    • 25 Owen Gleiberman
    You can expect a lot of shredding and gurgling. 30 Days of Night is relentless, but it's also relentlessly one-note.
    • 53 Metascore
    • 16 Owen Gleiberman
    Nothing in Imaginary Heroes rings true, least of all a plot that lightly combines domestic abuse, adulterous pregnancy, teen bisexuality, job abandonment, and a possible case of Mysterious Movie Disease. These are not ordinary people. Or real ones.
    • 53 Metascore
    • 25 Owen Gleiberman
    Has a topsy-turvy sense of injustice.
    • 53 Metascore
    • 25 Owen Gleiberman
    A ponderous dystopian bummer that might be described as "The Road Warrior" without car chases, or "The Road" without humanity.
    • 52 Metascore
    • 33 Owen Gleiberman
    For all of De Palma's studious multimedia trickery -- a valid, even inspired idea -- Redacted is so naive it's an embarrassment.
    • 52 Metascore
    • 25 Owen Gleiberman
    The only performer I enjoyed watching was Martin Short, who plays a bitch dandy music teacher with a smile so fake that the comedian seems to be acting with his gums.
    • 52 Metascore
    • 0 Owen Gleiberman
    Fragmentation can be an artful method; it can also be the last refuge for someone who scarcely knows how to make a film. In the no-budget fantasia Wild Tigers I Have Known, the fragments are like a borrowed collage of gay coming-of-age tropes.
    • 52 Metascore
    • 25 Owen Gleiberman
    In a season of digital bombast, it can be a relief to walk into a stodgy life-of-the-great-man costume drama. Goya's Ghosts, before it turns into a messy, horse-drawn load, achieves a civilized stuffiness that gives off its own mild pleasure.
    • 52 Metascore
    • 33 Owen Gleiberman
    You can see what the film was going for, but the jokes just sit there; you chuckle a few times, mostly out of lame hope, but you never bust a gut, never really get what you came for.
    • 52 Metascore
    • 25 Owen Gleiberman
    Has Brian De Palma finally lost his mind? Ever since "Carrie" (1976), his one true masterpiece, this director has evolved into a cinematic serial killer of common sense.
    • 51 Metascore
    • 25 Owen Gleiberman
    Starts out as a neo-Pygmalion comedy, but the film is slow, earnest, and rhythmless.
    • 51 Metascore
    • 25 Owen Gleiberman
    Nothing in John Carter really works, since everything in the movie has been done so many times before, and so much better.
    • 51 Metascore
    • 33 Owen Gleiberman
    The movie wants to be deadly cool, but mostly it's just deadly.
    • 51 Metascore
    • 0 Owen Gleiberman
    Stupefyingly tedious and annoying.
    • 50 Metascore
    • 20 Owen Gleiberman
    It’s hard to say what the title of Trespass Against Us actually means, but then it’s hard to know what anything in this movie thinks it’s about. Even Ed Wood would have said, “Needs work.”
    • 50 Metascore
    • 25 Owen Gleiberman
    Anderson has made a zombie movie without the zombies.
    • 50 Metascore
    • 25 Owen Gleiberman
    The most irritating thing about Hoffa is that even after you've sat through Danny DeVito's turgid, meaninglessly sprawling account of the Teamster boss' rise and fall, you still won't have any idea who Jimmy Hoffa was.
    • 50 Metascore
    • 0 Owen Gleiberman
    Top-heavy with whimsy, so muddled it makes Mission: Impossible look like a model of narrative cohesion, The Saint is the apo-theosis of the new incoherence, with the cliches of espionage and action thrillers jammed together like bumper cars.
    • 50 Metascore
    • 25 Owen Gleiberman
    Isn't it time Steve Zahn grew up? Ever since the '90s, this walking quirk of an actor has pushed his dazed solipsistic zaniness (he's like Michael J. Fox’s hillbilly cousin), but he's 41 now, and it no longer looks cute on him.
    • 50 Metascore
    • 16 Owen Gleiberman
    Shainberg reduces this most disturbing of all photographers to a portraitist of Halloween.
    • 50 Metascore
    • 0 Owen Gleiberman
    There's something uniquely embarrassing about a rock & roll fable that is no more authentic (and no less coy) than an episode of ''The Monkees'' yet insists on presenting itself as the epitome of rebel-yell cool.
    • 49 Metascore
    • 25 Owen Gleiberman
    It's like a film-school thesis gone disastrously wrong.
    • 49 Metascore
    • 25 Owen Gleiberman
    It's like "Schindler's List" crossed with "The Sound of Music," and Roger Spottiswoode directs it in a stiff, lifeless, utterly dated style of international squareness.
    • 48 Metascore
    • 16 Owen Gleiberman
    Angel-A shows how director Luc Besson can be French in a way that even the French might despise...Quel ick. And très tedious.
    • 48 Metascore
    • 25 Owen Gleiberman
    Simon Pegg has what it takes, but he's saddled himself with a script (co-written by Pegg and Michael Ian Black) that Adam Sandler wouldn't have pulled out of his bottom drawer.
    • 48 Metascore
    • 25 Owen Gleiberman
    It's no insult to Melville to say that he wrote, in effect, the original ''Dilbert.'' This movie, unfortunately, makes ''Dilbert'' look like Melville.
    • 48 Metascore
    • 16 Owen Gleiberman
    Serves up the sort of shrill ''satire'' of middle-class Jewish vulgarity in which the mere mention of words like ''brisket'' and ''klezmer'' is automatically presumed to be hilarious.
    • 48 Metascore
    • 0 Owen Gleiberman
    Mr. Magorium, who is 243 years old (so are his jokes), is a cross between Willy Wonka and Geppetto, but Hoffman plays him with little more than a goofy dumb lisp, achieved by tucking his lower lip under his upper teeth, so that he looks just as rabbity-stoopid as he sounds.

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