Owen Gleiberman

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For 2,663 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 3.5 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 A Very Harold & Kumar Christmas
Lowest review score: 0 Being Human
Score distribution:
2663 movie reviews
    • 85 Metascore
    • 67 Owen Gleiberman
    It's doubtful you'll ever see a combat documentary that channels the chaos of war as thoroughly as this one.
    • 85 Metascore
    • 91 Owen Gleiberman
    At times, The Iron Giant is more serene than it needs to be, but it's a lovely and touching daydream.
    • 85 Metascore
    • 100 Owen Gleiberman
    Fruitvale Station is great political filmmaking because it's great filmmaking, period.
    • 85 Metascore
    • 100 Owen Gleiberman
    One of the most important movies of my life. It’s one of the two films, the other being Robert Altman’s Nashville, that made me want to be a critic. And that’s because Carrie did more than thrill, frighten, and captivate me; it sent a volt charge through my system that rewired my imagination, showing me everything that movies could be.
    • 85 Metascore
    • 70 Owen Gleiberman
    The remarkable thing is that the movie acquires the quality of a time machine. You don’t just watch “Dawson City.” You step into it to and draw back a magical curtain on the past, entering a world of buried memory that’s the precursor to our own.
    • 85 Metascore
    • 100 Owen Gleiberman
    A work of intimate and wrenching humanity.
    • 84 Metascore
    • 70 Owen Gleiberman
    As long as Kaurismäki presents this tidy a vision (aesthetically and morally), he’ll continue to be an engagingly hermetic art-house curio impersonating an artist.
    • 84 Metascore
    • 91 Owen Gleiberman
    It's a beautiful contraption of a movie, a gothic backwoods fable that uses its naive yet murderous hero to walk a fine line between sentimentality and dread.
    • Entertainment Weekly
    • 84 Metascore
    • 100 Owen Gleiberman
    In the Shadow of the Moon finds new resonance in the moment when America redefined progress -- but also when it heeded the siren song of a world so desolate it reminded you what a paradise ours truly is.
    • 84 Metascore
    • 67 Owen Gleiberman
    As long as Revanche focuses on the relationship between Tamara (Irina Potapenko), an indentured Ukrainian prostitute, and Alex (Johannes Krisch), the ex-con gofer and would-be tough guy who wants to help her escape, it's riveting.
    • 84 Metascore
    • 91 Owen Gleiberman
    A fascinating film -- more docudrama than biopic.
    • 84 Metascore
    • 91 Owen Gleiberman
    The unlikeliest enthralling movie to be released so far this year.
    • 84 Metascore
    • 100 Owen Gleiberman
    Bold and brilliant.
    • 84 Metascore
    • 90 Owen Gleiberman
    A powerful and important documentary.
    • 84 Metascore
    • 75 Owen Gleiberman
    Darwin's Nightmare points an all-purpose finger at globalization, yet the movie, as raw and vivid as it is, meanders terribly and - bigger problem - never hints at how the disasters it shows us are rooted in Africa's colonial past.
    • 84 Metascore
    • 100 Owen Gleiberman
    Beautiful, wise, and poker-faced comedy of discombobulation.
    • 84 Metascore
    • 91 Owen Gleiberman
    Sheridan, however, works with such piercing fervor and intelligence that In the Name of the Father just about transcends its tidy moral design.
    • 84 Metascore
    • 91 Owen Gleiberman
    The final shot, of the three characters now united, may be the quietest affirmation of life I've ever seen in a movie, and one of the truest.
    • 84 Metascore
    • 75 Owen Gleiberman
    The movie opens as borderline Hitchcock, echoing the tone of the filmmaker's bravura "Bad Education" (2004), and then turns into a kind of overly conceptualized Tennessee Williams.
    • 84 Metascore
    • 67 Owen Gleiberman
    Homicide is engrossing, at least for a while, but the truly personal movie it wants to be remains locked up in Mamet’s head.
    • 84 Metascore
    • 75 Owen Gleiberman
    A good but far from great movie because it portrays truth telling in America as far more imperiled than it is.
    • 84 Metascore
    • 100 Owen Gleiberman
    Another beautifully chiseled piece of filmmaking - sharp, funny, generous, and moving.
    • 84 Metascore
    • 100 Owen Gleiberman
    Mesmerizing.
    • 84 Metascore
    • 100 Owen Gleiberman
    The enthralling spirit of Dave Chappelle's Block Party, its mood of exuberant democracy, extends to every rap and soul performance in the film.
    • 84 Metascore
    • 91 Owen Gleiberman
    Creates a flow of symbolism so potent, so transporting in its physicality, that its impact all but transcends its righteous liberal ''meaning.''
    • 84 Metascore
    • 83 Owen Gleiberman
    The Cove is the rare documentary specifically designed as a thriller.
    • 84 Metascore
    • 83 Owen Gleiberman
    If this is the sound of a new generation, then it may be the first generation cautious enough to embrace friendship as mightier than love.
    • 84 Metascore
    • 100 Owen Gleiberman
    This is the rare movie that gets you to fall in love with characters you don't even like.
    • 83 Metascore
    • 75 Owen Gleiberman
    As visual spectacle, Avatar is indelible, but as a movie it all but evaporates as you watch it.
    • 83 Metascore
    • 100 Owen Gleiberman
    It would be hard to imagine a movie about drugs, depravity, and all-around bad behavior more electrifying than Trainspotting.

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