Owen Gleiberman

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For 2,495 reviews, this critic has graded:
  • 66% higher than the average critic
  • 2% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 4.5 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Jack Smith and the Destruction of Atlantis
Lowest review score: 0 Snow Day
Score distribution:
2495 movie reviews
    • 100 Metascore
    • 100 Owen Gleiberman
    The Wizard of Oz remains the weirdest, scariest, kookiest, most haunting and indelible kid-flick-that's-really-for-adults ever made in Hollywood.
    • 98 Metascore
    • 100 Owen Gleiberman
    Hoop Dreams is an astonishing emotional experience — it has highs, lows, and everything in between.
    • 97 Metascore
    • 100 Owen Gleiberman
    It becomes as savage as ''Reservoir Dogs,'' ''The Killing,'' or any of the other dozens of films over which it still casts a shadow.
    • 96 Metascore
    • 100 Owen Gleiberman
    It's Ejiofor's extraordinary performance that holds 12 Years a Slave together.
    • 96 Metascore
    • 75 Owen Gleiberman
    Ratatouille is a blithe concoction, as well as a miraculously textured piece of animated design.
    • 96 Metascore
    • 100 Owen Gleiberman
    They're like gods at play, paragons of pure delight, as they mock and feign their way through a universe of mere mortals. To see the movie again is to realize that they were never entirely of this earth and that they never will be.
    • 96 Metascore
    • 100 Owen Gleiberman
    The miracle of the movie is the way that director Alfonso Cuarón, using special effects and 3-D with a nearly poetic simplicity and command, places the audience right up there in space along with them.
    • 96 Metascore
    • 100 Owen Gleiberman
    Raoul Peck’s I Am Not Your Negro is the rare movie that might be called a spiritual documentary.
    • 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.
    • 95 Metascore
    • 100 Owen Gleiberman
    The first animated feature produced entirely on computer is a magically witty and humane entertainment, a hellzapoppin fairy tale about a roomful of suburban toys who come to life when humans aren't around.
    • 95 Metascore
    • 100 Owen Gleiberman
    The power of The Social Network is that Zuckerberg is a weasel with a mission that can never be dismissed. The movie suggests that he may have built his ambivalence about human connection into Facebook's very DNA. That's what makes him a jerk-hero for our time.
    • 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.
    • 95 Metascore
    • 100 Owen Gleiberman
    Once in a long while, a fresh-from-the-headlines movie - like "All the President's Men" or "United 93" - fuses journalism, procedural high drama, and the oxygenated atmosphere of a thriller into a new version of history written with lightning. Zero Dark Thirty, Kathryn Bigelow's meticulous and electrifying re-creation of the hunt for Osama bin Laden, is that kind of movie.
    • 95 Metascore
    • 100 Owen Gleiberman
    Farhadi is no mere formalist. His film is a spiritual investigation into the rise of women and the descent of male privilege in Iran, and a look at the toll that has taken. In a movie of flawless acting, it is Moadi - terse, proud, angry, haunted - who shows us that rare thing: a soul in transition.
    • 94 Metascore
    • 100 Owen Gleiberman
    Before Midnight confounds expectations in powerful and even haunting ways. It's not just darker than the previous two films. It's bigger, deeper, and more searching. It follows the characters through a tale of embattled love that extends far beyond them.
    • 94 Metascore
    • 100 Owen Gleiberman
    It whisks you to another world, then makes it every inch our own.
    • 94 Metascore
    • 83 Owen Gleiberman
    A rivetingly journalistic account of a scoundrel's rise and fall.
    • 94 Metascore
    • 100 Owen Gleiberman
    In Amour, these two actors show us what love is, what it really looks like, and what it may, at its most secret moments, demand.
    • 93 Metascore
    • 67 Owen Gleiberman
    It seems pompous and scattershot now -- a tweaking of privileged European smugness that unfolds with a playful daisy-chain logic but has the tone of a quaint, doddering lecture.
    • 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.
    • 93 Metascore
    • 80 Owen Gleiberman
    La La Land isn’t a masterpiece (and on some level it wants to be). Yet it’s an exciting ramble of a movie, ardent and full of feeling, passionate but also exquisitely — at times overly — controlled.
    • 93 Metascore
    • 100 Owen Gleiberman
    Extraordinary new documentary that turns Robert Crumb's twisted life story into a disturbing, exhilarating work of biographical art.
    • 92 Metascore
    • 91 Owen Gleiberman
    With Inside Llewyn Davis, they've made a film that is almost spooky in its perversity: a lovingly lived-in, detailed tribute to the folk scene that — hauntingly — has shut their hero out.
    • 92 Metascore
    • 80 Owen Gleiberman
    If it’s sometimes a rambling, indulgent experience, it’s also a beautiful one.
    • 92 Metascore
    • 100 Owen Gleiberman
    Toy Story 3 is a salute to the magic of making believe.
    • 91 Metascore
    • 91 Owen Gleiberman
    By the end, the rug gets pulled out from under us, showing that even the reality we think we see may be an illusion.
    • 91 Metascore
    • 100 Owen Gleiberman
    E.T. is ultimately a tale of love, and the film becomes a cathartic leap into pure feeling. [2002 re-release]
    • 91 Metascore
    • 75 Owen Gleiberman
    A crowd-pleaser, all right, but, for all its appeal, a naggingly sanctimonious one.
    • 90 Metascore
    • 100 Owen Gleiberman
    More than just another documentary, it’s a crucial and stirring document — of racism and injustice, of politics and the big-picture design of America — that, I believe, will be watched and referenced for years to come.
    • 90 Metascore
    • 100 Owen Gleiberman
    By the time The Crying Game is over, you'll never look at beauty in quite the same way.

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