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 6.4 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 It Might Get Loud
Lowest review score: 0 Undead
Score distribution:
2,347 movie reviews
    • 82 Metascore
    • 75 Owen Gleiberman
    It's an academic meditation in underworld-thriller drag -- a movie that looks about as close to a straight-ahead, down-and-dirty genre entertainment as anything the director has made since his exploding-head horror days.
    • 82 Metascore
    • 75 Owen Gleiberman
    At once scary and stirring.
    • 81 Metascore
    • 100 Owen Gleiberman
    A movie that re-creates its object of satire with such pitch-perfect flair that it all but erases the line between derision and love.
    • 81 Metascore
    • 83 Owen Gleiberman
    Rapt and beautiful and absorbing.
    • 81 Metascore
    • 100 Owen Gleiberman
    Blue Valentine is lushly touching and gorgeously told.
    • 81 Metascore
    • 50 Owen Gleiberman
    Regrettably, the film's story is so busy yet flat that the effect isn't magical -- it's more like watching the tale of some very enchanted wallpaper.
    • 81 Metascore
    • 100 Owen Gleiberman
    Between clips of the concerts Seeger staged as hootenanny hosannas, the film chronicles how the blacklisted star stuck true to his beliefs -- which were more patriotic than those of his accusers.
    • 81 Metascore
    • 67 Owen Gleiberman
    DiCaprio, having a blast, makes Candie the equivalent of Waltz's Nazi in "Inglourious Basterds": a racist villain who mesmerizes us by elevating his ideology into a puckishly thought-out vision of the world. Yet Django isn't nearly the film that Inglourious was.
    • 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.
    • 81 Metascore
    • 75 Owen Gleiberman
    I wish I could say that Wattstax was an ecstatic soul celebration, but most of the performances, while enjoyable, fall short of memorable.
    • 81 Metascore
    • 100 Owen Gleiberman
    The Wrestler is like "Rocky" made by the Scorsese of "Mean Streets." It's the rare movie fairy tale that's also a bravura work of art.
    • 81 Metascore
    • 67 Owen Gleiberman
    Kids may be appropriately terrified, but to this overgrown Potter fan, Voldemort, the Darth Vader of the black arts, was a heck of a lot scarier when you couldn't see him.
    • 81 Metascore
    • 91 Owen Gleiberman
    A fizzy and delirious high-camp message-movie musical that may just turn out to be the happiest movie of the summer.
    • 81 Metascore
    • 100 Owen Gleiberman
    All in all, Blood Simple looks better than ever.
    • 81 Metascore
    • 100 Owen Gleiberman
    Relaunches the series by doing something I wouldn't have thought possible: It turns Bond into a human being again -- a gruffly charming yet volatile chap who may be the swank king stud of the Western world, but who still has room for rage, fear, vulnerability, love.
    • 81 Metascore
    • 67 Owen Gleiberman
    A fable of money as the root of jealousy, discord, violence, but the film's slippery fascination as sociological exposé is the flip side of its thinness as drama.
    • 81 Metascore
    • 100 Owen Gleiberman
    The Chinese artist and activist Ai Weiwei has achieved a prominence that makes him, in effect, the Aleksandr Solzhenitsyn of the Twitter age. He's also the least stuffy of dissidents, and Alison Klayman's stirring, important documentary catches his complex humanity.
    • 81 Metascore
    • 91 Owen Gleiberman
    It's a film noir that grows more potent as its secrets are revealed.
    • 81 Metascore
    • 67 Owen Gleiberman
    What the film leaves unexplained is how this joyous musical outpouring, which predated the revolution, could fare under a system with a pathological distrust of beauty.
    • 81 Metascore
    • 91 Owen Gleiberman
    In Shoot Me, she wears her spiked cynicism like a cutting form of grace, and everyone around her (including audiences) gets healed by it.
    • 80 Metascore
    • 100 Owen Gleiberman
    The stunning images aren't enough for Herzog, though. He wants us to see how these quirky researchers, in their lust to explore, are acting out a drive as primitive as nature: the need to break away from the world in order to find it.
    • 80 Metascore
    • 91 Owen Gleiberman
    Wendy and Lucy is like "Lassie Come Home" directed by Antonioni. What's piercing about it, and also disturbing, is that Reichardt views the renunciation of society with something close to righteous purity -- as a lefty romantic dream.
    • 80 Metascore
    • 100 Owen Gleiberman
    Amy Adams in a performance as deep as it is delightful, is the film's heart and also its flaky, wonderstruck soul.
    • 80 Metascore
    • 100 Owen Gleiberman
    A bold, searching, wrenching experience. It may be the most complexly impassioned message movie Hollywood has ever made.
    • Entertainment Weekly
    • 80 Metascore
    • 100 Owen Gleiberman
    Food, Inc. is hard to shake, because days after you've seen it, you may find yourself eating something -- a cookie, a piece of poultry, cereal out of the box, a perfectly round waxen tomato -- and you'll realize that you have virtually no idea what it actually is.
    • 80 Metascore
    • 75 Owen Gleiberman
    Do Hou's films deserve to be seen? Absolutely, if only to end the myth that they're too perfect for this world.
    • 80 Metascore
    • 100 Owen Gleiberman
    It's a quiet dream of a movie, a vision of loneliness giving way to love, then to loneliness again; it's like "Vertigo" remade in a sedately haunted style of Japanese lyricism.
    • 80 Metascore
    • 75 Owen Gleiberman
    All staged as a harsh poem of survival, with no great psychological interest, yet the ending carries a surprise feminist tug that’s worth the wait.
    • 80 Metascore
    • 100 Owen Gleiberman
    A succulently entertaining movie that invites you to splash around in the dreams and follies of folks so rich they're the 1 percent of the 1 percent. It's like a champagne bath laced with arsenic.
    • 80 Metascore
    • 100 Owen Gleiberman
    As tricky and satisfying as any of David Mamet's airless cinematic shell games. Mamet's films are all plot and no atmosphere; this one has a squalid, urban-greed-meets-the-gutter mood that lends its filigreed cleverness an unusually resonant kick.