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 Glengarry Glen Ross
Lowest review score: 0 The Libertine
Score distribution:
2,347 movie reviews
    • 34 Metascore
    • 0 Owen Gleiberman
    On the level of a no-budget student film in which the shots barely match up into sequences. It's about as much fun as watching blood dry.
    • 34 Metascore
    • 91 Owen Gleiberman
    The film's darkly bedazzled view of the '70s is spurred by great dish from André Leon Talley, Liza Minnelli, and Nile Rodgers, who set the stage for Halston's triumphs - and his jaw-dropping fall.
    • 33 Metascore
    • 50 Owen Gleiberman
    The result is an ''action film'' mired in stasis. The ending piles on the potboiler mayhem, but it's telling that Schwarzenegger's climactic catchphrase is down to one measly word. This time, he's the luggage.
    • 33 Metascore
    • 50 Owen Gleiberman
    This is just cut-rate, generic daughter of Indy Jones hokum.
    • 33 Metascore
    • 42 Owen Gleiberman
    Hilary Duff makes me long for the comparatively Dostoyevskian depths of Sandra Dee.
    • 33 Metascore
    • 0 Owen Gleiberman
    It doesn't take long to figure out that Shadowboxer 's Helen Mirren, as a cancer-ridden hitwoman, and Cuba Gooding Jr., as her doting stepson, are the most unconvincing team of hired assassins in movie history.
    • 33 Metascore
    • 58 Owen Gleiberman
    Frequently silly, yet eminently more watchable than such leaden Schwarzenegger efforts as ''Eraser.''
    • 33 Metascore
    • 50 Owen Gleiberman
    The trouble with the movie, apart from its rather monotonous dourness of tone, is that everyone in the family, especially the reformed-delinquent high school son (Penn Badgley), comes off as tougher, smarter, and quicker on the draw than the stepfather who's supposed to be outfoxing them.
    • 33 Metascore
    • 25 Owen Gleiberman
    It's a dispirited, galumphing mess.
    • 33 Metascore
    • 33 Owen Gleiberman
    The movie has no script, and even the better gags - like one in which a couple of the pilots scribble away at coloring books in the backseat of a plane - could have been staged more vividly.
    • 33 Metascore
    • 25 Owen Gleiberman
    God-awful?Gooding screams out lines like ''I'm about to get in yo' ass like last year's underwear!''
    • 33 Metascore
    • 42 Owen Gleiberman
    Extraordinarily faithful to the spirit of that creaky, derivative, fly-infested, don't-go-in-the-attic boofest.
    • 33 Metascore
    • 42 Owen Gleiberman
    Seems to have been given the comedy equivalent of blood thinner. It has the blazing satirical boldness to skewer the first Tobey Maguire Spider-Man -- and, amazingly, not much else.
    • 33 Metascore
    • 25 Owen Gleiberman
    The entire movie has the meaninglessly burnished, sunglasses-at-midnight glow of an early-'90s car commercial -- a visual scheme guaranteed to leave the audience squinting between yawns.
    • 33 Metascore
    • 42 Owen Gleiberman
    Aspires to blasphemy but achieves only banality.
    • 33 Metascore
    • 50 Owen Gleiberman
    Best to experience Shaker Heights for what it is: not a movie, exactly, but the true season capper of ''Project Greenlight,'' a series that finds its very drama on the road to mediocrity.
    • 33 Metascore
    • 58 Owen Gleiberman
    A splattery futuristic zombie thriller, designed as a jolt-a-minute freakout for young audiences who were numbed into submission long ago.
    • 33 Metascore
    • 25 Owen Gleiberman
    In Trash Humpers, the latest slovenly, haphazard, is-it-a-travesty-if-it's-bad-on-purpose avant doodle from director Harmony Korine, three figures in rubbery old-age makeup do indeed mimic intercourse with Dumpsters.
    • 33 Metascore
    • 83 Owen Gleiberman
    Unlike its obvious influence, the 1999 Japanese shocker "Audition," The Human Centipede has no real-world echoes. It's an only-in-the-movies sick goof.
    • 33 Metascore
    • 58 Owen Gleiberman
    The movie takes off from a concept as basic as a videogame, and it sticks to that concept, without surprise.
    • 33 Metascore
    • 33 Owen Gleiberman
    Lawrence is so ON that he appears to be gunning for clockwork bursts of audience approval.
    • 33 Metascore
    • 42 Owen Gleiberman
    Graham is charming, but Miss Conception is a cloddish biological-clock bedroom farce.
    • 33 Metascore
    • 33 Owen Gleiberman
    Most of The Man is as awful as last year's debacle, "Taxi," yet Levy, stuck in a no-brainer variation on Billy Crystal's predicament in "Analyze This," shows just enough noodgy passive-aggression to suggest what the movie might have been were it not shackled to buddy-action clichés.
    • 33 Metascore
    • 83 Owen Gleiberman
    It's trash, all right, but perfectly skewed trash -- a comedy that knows just how smart to be about just how dumb it is.
    • 33 Metascore
    • 42 Owen Gleiberman
    54
    There's a glimmer of what the film might have been, though, in the performance of Mike Myers, who plays Studio co-owner Steve Rubell, with his sweaty thinning hair and look-at-me-I-got-class Lacoste shirts, as a vengeful gargoyle presiding over a kingdom of beauty he can rule but never join.
    • 33 Metascore
    • 0 Owen Gleiberman
    Being Human doesn't seem to be about anything: Its five astonishingly limp parables might have been spun by a depressed Aesop who forgot to take his Prozac.
    • 33 Metascore
    • 67 Owen Gleiberman
    Leap Year could have used more pizzazz.
    • 33 Metascore
    • 25 Owen Gleiberman
    It's an utterly fake nostalgia piece -- stupid and pandering, a bad-boy teen flick that plays less like a loving look at the late '70s than a terrible movie from the late '70s.
    • 33 Metascore
    • 16 Owen Gleiberman
    The Punisher is a moronically inept and tedious piece of death-wish trash.
    • 32 Metascore
    • 75 Owen Gleiberman
    There's no denying that Scott is a wizard of the narcotic-flash school. In The Fan, he uses his chromium-edged technique to evoke a dread-saturated consumerist America in which the most beloved institutions have grown mercenary and hard.
    • 32 Metascore
    • 58 Owen Gleiberman
    A movie in which laughter and self-exploitation merge into jolly soft-porn ''empowerment.''
    • 32 Metascore
    • 75 Owen Gleiberman
    A big, fat, juicy spitball lobbed, with mostly dead-on aim, at the teen-smarm clichés that have accumulated like so much earwax over the last three years.
    • 32 Metascore
    • 75 Owen Gleiberman
    Chapter 27 is far from flawless, but Leto disappears inside this angry, mouth-breathing psycho geek with a conviction that had me hanging on his every delusion.
    • 32 Metascore
    • 58 Owen Gleiberman
    A boxing film with no conflictual punch.
    • 32 Metascore
    • 50 Owen Gleiberman
    Jolie, in this movie at least, has exactly two expressions: blank wistfulness and blank dismay. She reduces the tides of history to one more raided tomb.
    • 32 Metascore
    • 50 Owen Gleiberman
    Land of the Lost has stray amusing tidbits, but overall it leaves you feeling splattered.
    • 32 Metascore
    • 75 Owen Gleiberman
    A good movie? Hardly. But more than enough to pass a dog day afternoon.
    • 32 Metascore
    • 75 Owen Gleiberman
    The movie, while heartfelt and vividly shot, takes too many rote genre turns.
    • 32 Metascore
    • 58 Owen Gleiberman
    There are some clever and exciting sequences, but this $120 million epic of reconstituted Atomic Age trash lumbers more than it thrills.
    • 32 Metascore
    • 33 Owen Gleiberman
    It's hard to say what's more excruciating: Alex's novel, which is like ''The Great Gatsby'' rewritten by Lizzie McGuire, or his quarrelsome flirtation with Emma, who has no existence as a character apart from her drive to reshape Alex into a specimen of respectable tamed manhood.
    • 32 Metascore
    • 0 Owen Gleiberman
    A somber, draggy, deadweight, lugubrious, absurdly self serious version of ''American Beauty.''
    • 32 Metascore
    • 33 Owen Gleiberman
    It was originally called ''Animal Husbandry,'' and while the producers were throwing away that title, they might have done well to chuck the movie along with it.
    • 32 Metascore
    • 50 Owen Gleiberman
    To call Lukas Moodysson's A Hole in My Heart the feel-bad movie of the year would be an understatement -- it's the feel-sick movie of the millennium.
    • 32 Metascore
    • 58 Owen Gleiberman
    Lawrence, as always, exerts the appeal of a con man too lightweight to buy into his own con. He'd be funnier, though, if he didn't insist on being the only funny thing in the room.
    • 32 Metascore
    • 25 Owen Gleiberman
    De Niro seems to be reacting to nothing so much as the lame movie he's stuck in.
    • 32 Metascore
    • 75 Owen Gleiberman
    A bit of a tease itself. The movie keeps threatening to become amateur porn, like a risqué ''Candid Camera'' gone ''Dirty Debutantes,'' but it never quite gets there.
    • 32 Metascore
    • 42 Owen Gleiberman
    A grisly one-note chase thriller.
    • 31 Metascore
    • 67 Owen Gleiberman
    The teensploitation premise is like something a porn filmmaker from the '70s might have come up with. But Fired Up! has one added quirk: The script, credited to Freedom Jones, is a riot of tongue-twisting ironic sleaze -- it sounds like the first (and last) collaboration between Diablo Cody and Artie Lange.
    • 31 Metascore
    • 25 Owen Gleiberman
    It's just a grindingly inert death-wish thriller.
    • 31 Metascore
    • 25 Owen Gleiberman
    The cruddy, shot-in-a-warehouse settings are especially depressing, since the computer-generated special effects seem to be taking place in another movie entirely (a far livelier one). [9 Jan 1998, p. 47]
    • Entertainment Weekly
    • 31 Metascore
    • 58 Owen Gleiberman
    A bland, pious yet touching faith-based tearjerker.
    • 31 Metascore
    • 83 Owen Gleiberman
    A grubby, disturbing serial-killer mystery, a kind of blood-simple "Rashomon."
    • 31 Metascore
    • 50 Owen Gleiberman
    A genially cruddy B movie can sometimes go places - sort of - that bigger movies won't.
    • 31 Metascore
    • 25 Owen Gleiberman
    Screenwriter Kevin Williamson (the Scream trilogy), having bottomed out in the horror genre, now dips below bottom (there isn't a line that has his knowing sweet-and-sour zing).
    • 31 Metascore
    • 50 Owen Gleiberman
    Isn't coherent, exactly, but what dripping-ghoul horror movie is these days? The new rule is, It's not hip to make sense when you're raising hell.
    • 31 Metascore
    • 16 Owen Gleiberman
    The hilarious diminuendo of that title is such that the movie might as well have been called ''Wes Craven Presents: Not a Hell of a Lot.''
    • 31 Metascore
    • 67 Owen Gleiberman
    Never underestimate the importance of guy-on-guy sentimentality in the Adam Sandler universe. It's his way of making his fans feel as if he's high-fiving them, or maybe giving them a group hug. But Sandler, bottom line, is too good at playing louts like Donny to spend this much energy getting us to like them.
    • 31 Metascore
    • 42 Owen Gleiberman
    Graham makes the coming-out dithering bearable, but not before she has jumped through hoops of contrivance.
    • 31 Metascore
    • 50 Owen Gleiberman
    Mostly hot air.
    • 31 Metascore
    • 50 Owen Gleiberman
    Amiably silly.
    • 31 Metascore
    • 91 Owen Gleiberman
    Peter Berg's scandalous sick-joke thriller is packed with rude and clever twists, and it delves, with surprising force, into the hypocritical postures of corporate-era male bonding. The cast is terrific, especially Christian Slater.
    • 31 Metascore
    • 25 Owen Gleiberman
    Leaves you with the dismaying sensation that Levinson, who should probably be off making his own version of ''The Player,'' has instead crafted a comedy of self-loathing, burying himself in a movie that deserves to be Vapoorized.
    • 31 Metascore
    • 50 Owen Gleiberman
    A sign of how desperate the series' producers have become is that the big twist here is that Leatherface, the slobby butcher-boy demon in his mask of human skin, is now...the good guy. (That's a ''jump the chainsaw'' concept if ever there was one.)
    • 31 Metascore
    • 42 Owen Gleiberman
    Without that heightened racial antipathy-turned-camaraderie, there's not a whole lot to Cop Out besides watching Kevin Smith pretend, with a crudeness that is simply boring, that he's an action director making a comic thriller about cops versus a Mexican drug gang (yawn).
    • 31 Metascore
    • 16 Owen Gleiberman
    This is the rare horror film so bad that you almost wish it had turned into a good old connect-the-gory-dots slasher movie. The only mystery at work is how Lawrence's agent ever let her sign on to this.
    • 31 Metascore
    • 50 Owen Gleiberman
    After an hour of inert exposition, a race through Shanghai gooses the movie alive. Then it plunges back into torpor.
    • 31 Metascore
    • 50 Owen Gleiberman
    A self-righteous mishmash that can't decide whether to be a tribute to the fanatical leftist passion that thrives in college towns, an indictment of that very same fanaticism, or a ghoulishly didactic snuff-video thriller.
    • 31 Metascore
    • 33 Owen Gleiberman
    Adam Sandler stars in a one-joke Caddyshack for the blitzed and jaded.
    • 31 Metascore
    • 50 Owen Gleiberman
    it's a synthetic, rather drab movie, one that seems linked less to experience, or even to fantasy, than to other movies - "Big," of course, and also "E.T.," "Mask," and "Phenomenon."
    • 30 Metascore
    • 58 Owen Gleiberman
    It's no exaggeration to say that the actors have less personality than the pipes, nail guns, grinding gears, decaying beams, and slowly spreading oil spills that are fused, with a kind of empty-dread technical precision, into Rube Goldberg torture devices.
    • 30 Metascore
    • 50 Owen Gleiberman
    As the vamps, Eva Mendes and Scarlett Johansson might be posing for a fashion spread with just one note to play -- gorgeous high-bitch mockery.
    • 30 Metascore
    • 25 Owen Gleiberman
    The thinnest, draggiest, and most tediously preachy of the Saw films.
    • 30 Metascore
    • 58 Owen Gleiberman
    This comedy about a couple who can't get pregnant is stuck between Judd Apatow's humane raunchiness and the American Pie series' smirky broadness.
    • 30 Metascore
    • 25 Owen Gleiberman
    Feeling Minnesota suggests Sam Shepard trying to be Quentin Tarantino. It makes even gun battles seem pretentious.
    • 30 Metascore
    • 33 Owen Gleiberman
    Bloodless and false.
    • 30 Metascore
    • 42 Owen Gleiberman
    The movie is based on a 1999 series of comic books by Alan Moore and Kevin O'Neill, but the original tone of deadpan historical audacity has been replaced by a kind of wax-museum literalness.
    • 30 Metascore
    • 33 Owen Gleiberman
    A yawn-by-numbers romper-room dud.
    • 30 Metascore
    • 33 Owen Gleiberman
    A few of the images are startling, but as Radha Mitchell (a good actress) wanders through a ghost town, searching for her lost daughter as though she was touring an abandoned movie set, Silent Hill is mostly paralyzing in its vagueness.
    • 30 Metascore
    • 42 Owen Gleiberman
    The dialogue is chintzy and rhythmless.
    • 30 Metascore
    • 25 Owen Gleiberman
    This ''satire'' of triple-X raunch and ''Jerry Springer'' sleaze starts off at a pitch of preening dementia and just grows more hysterical from there.
    • 30 Metascore
    • 42 Owen Gleiberman
    The new movie is a dusty piñata stuffed with omens and not much more.
    • 30 Metascore
    • 50 Owen Gleiberman
    The movie could have used a brain transplant. It doesn't explore injustice -- it just exploits it.
    • 30 Metascore
    • 67 Owen Gleiberman
    For a while, the movie looks like "Couples Retreat" or a Tyler Perry house party, only instead of cookie-cutter conflicts, everyone just grows happier and more relaxed.
    • 30 Metascore
    • 25 Owen Gleiberman
    Just when you're sure that Deuce Bigalow: Male Gigolo can't get any less funny, the movie douses the trailer's best gag, as that prosthetic leg turns out to be attached to Deuce's true love.
    • 30 Metascore
    • 42 Owen Gleiberman
    Supplies stretches of actual skating footage by pros doubling for the stars. It's in these moments, freed from the earthbound pull of its market-tested components, that the movie briefly relaxes into the sheer thrilling audacity of flying into the air propelled by a board on wheels.
    • 30 Metascore
    • 42 Owen Gleiberman
    Kutcher is the wrong actor to anchor a psychological freak-out.
    • 30 Metascore
    • 50 Owen Gleiberman
    It has no twistiness or intrigue, and none of the juicy anthro-underworld detail that Koppelman and Levien brought to their screenplay for the tricky, enjoyable ''Rounders.''
    • 30 Metascore
    • 16 Owen Gleiberman
    Schaeffer's howler of a romantic comedy, which presents itself as a valentine to Clayburgh even as it keeps dreaming up fresh ways to humiliate her.
    • 30 Metascore
    • 75 Owen Gleiberman
    In the hands of director and co-writer Shana Feste (Country Strong), Endless Love has become a solidly engaging neo-'50s romantic melodrama.
    • 30 Metascore
    • 16 Owen Gleiberman
    The definition of aiming low is when the John Hughes film you're ripping off is ''Weird Science."
    • Entertainment Weekly
    • 30 Metascore
    • 25 Owen Gleiberman
    Simply put, it may be the lamest movie ever made about poor white... Southern characters.
    • 30 Metascore
    • 67 Owen Gleiberman
    Zookeeper (I can't believe I'm even writing this) is a dumbed-down "Paul Blart."
    • 30 Metascore
    • 50 Owen Gleiberman
    If you're not at the bull's-eye center of the target audience, a movie like this one can suck the life out of you.
    • 29 Metascore
    • 50 Owen Gleiberman
    What's going on is: hunks on horsies.
    • 29 Metascore
    • 25 Owen Gleiberman
    The result is a sub-"Saw" knockoff that manages to be brutal yet monotonous, not to mention monstrously unpleasant.
    • 29 Metascore
    • 58 Owen Gleiberman
    Mostly preposterous, and it has no dramatic center, but the racing scenes hold you in their death-trip grip.
    • 29 Metascore
    • 25 Owen Gleiberman
    As Brier's comrade-in-lip-gloss, Ashlee Simpson, dressed to look like a teenybop girl version of Crispin Glover in "River's Edge," is the real deal -- in fake cred.
    • 29 Metascore
    • 58 Owen Gleiberman
    Proof that a thriller can be sleekly shot, expertly cast, paced with crisp professionalism...and still be a letdown if its twists and turns hold no more surprise than yesterday's weather report.
    • 29 Metascore
    • 25 Owen Gleiberman
    This dank and rhythmless ''psychological'' potboiler was directed by Jamie Babbit, who made 2000's "But I'm a Cheerleader," and though she has shifted tones from shrill camp to moody angst in The Quiet, she still thinks in stereotypes so thin that they put you to sleep the moment they open their mouths.
    • 29 Metascore
    • 50 Owen Gleiberman
    An act of nose-thumbing that never quite figures out how, or even where, to position its thumb.
    • 29 Metascore
    • 25 Owen Gleiberman
    Kate Hudson is as blah and dazed as her costar is cloyingly enthused. If it's possible to have too even a tan, Hudson in Fool's Gold would be the poster child for it.
    • 29 Metascore
    • 33 Owen Gleiberman
    Even in her dullest vehicle, Lindsay Lohan exudes an unfakable shine.
    • 29 Metascore
    • 25 Owen Gleiberman
    Homophobic, sex-phobic, maybe even human-phobic.
    • 28 Metascore
    • 42 Owen Gleiberman
    The dumbing down of low-IQ sentimentality.
    • 28 Metascore
    • 50 Owen Gleiberman
    At once hypnotic and baffling, filled with surreal motifs and symbols, Fire Walk With Me could be the most rarefied teen horror film ever made: It's like "A Nightmare on Elm Street" directed by Michelangelo Antonioni.
    • 28 Metascore
    • 0 Owen Gleiberman
    Cowgirls, a flaky-surreal adaptation of Tom Robbins' 1976 feminist hipster road novel, finds the director of "Drugstore Cowboy" and "My Own Private Idaho" lost in the ozone of his own private whimsies.
    • 28 Metascore
    • 25 Owen Gleiberman
    Randall Miller (Bottle Shock), appears to be trying to cross a bad Elmore Leonard thriller with a bad indie-festival family-angst comedy. He gives us the worst of both worlds.
    • 28 Metascore
    • 0 Owen Gleiberman
    Dinesh D'Souza's documentary is no mere screed: 2016: Obama's America is a nonsensically unsubstantiated act of character assassination.
    • 28 Metascore
    • 0 Owen Gleiberman
    She Hate Me manages to be at once racist, homophobic, utterly fake, and unbearably tedious. This time, it's Spike Lee who's doing the bamboozling.
    • 28 Metascore
    • 50 Owen Gleiberman
    Ends up about as exotic as a straight-to-cable potboiler.
    • 28 Metascore
    • 58 Owen Gleiberman
    Collapses into the most generic sort of teen movie-ville, just at the moment it's convinced you that its lightly appealing stars are capable of better.
    • 28 Metascore
    • 42 Owen Gleiberman
    Gory but dramatically inert vampire schlocker.
    • 28 Metascore
    • 75 Owen Gleiberman
    The movie, in its basic concept, is corny and contrived, but as written and directed by Justin Zackham, it's executed in a pleasantly wry and understated fashion.
    • 28 Metascore
    • 50 Owen Gleiberman
    Ralph Bakshi's first feature in nearly a decade would like to be a down-and-dirty "Who Framed Roger Rabbit," but Bakshi isn't up to the task.
    • 28 Metascore
    • 42 Owen Gleiberman
    A remake of the 1986 suspense ''classic,'' is as processed and hoot-worthy as the original.
    • 28 Metascore
    • 67 Owen Gleiberman
    Trash, but always just a little creepier than you expect.
    • 28 Metascore
    • 50 Owen Gleiberman
    The best thing about it is Claire Foy's performance as the seething, caged is-she-a-witch?. Foy, like a Brit Kristen Stewart, has an entrancing sparkle of disdain.
    • 28 Metascore
    • 58 Owen Gleiberman
    The Ugly Truth isn't fizzy and fun -- it's vacuously snappy.
    • 28 Metascore
    • 42 Owen Gleiberman
    In this year's lump of coal, Matthew Broderick is the control freak who lives for toasty yuletide cheer, and Danny DeVito is the vulgar pest who wants his holiday lights seen from space. The dueling-neighbor crankfest is blah.
    • 28 Metascore
    • 67 Owen Gleiberman
    Madea is still a witty character, but the gutter wisdom of her tossed-off verbal hand grenades can’t shock us anymore; even the outtakes that play through the closing credits feel like reruns.
    • 27 Metascore
    • 33 Owen Gleiberman
    Bland to dismal.
    • 27 Metascore
    • 0 Owen Gleiberman
    What sin did Heather Locklear commit to deserve her role in The Perfect Man?
    • 27 Metascore
    • 42 Owen Gleiberman
    Cloddish, unfunny dud.
    • 27 Metascore
    • 25 Owen Gleiberman
    Vampire in Brooklyn is a horror comedy that mixes lame blood-pellet effects with lame gags, and it clunks along on a series of interchangeably deserted streets that manage to look dank and overlit at the same time.
    • 27 Metascore
    • 50 Owen Gleiberman
    It's been a while since we saw a bad John Hughes comedy, and Are We There Yet? more than fits the bill (even though Hughes had absolutely nothing to do with it).
    • 27 Metascore
    • 25 Owen Gleiberman
    Jason Lee seems to have been bitten by a vampire who sucked out all his prickly charisma. You see the promise of stardom dribbling through his fingers.
    • 27 Metascore
    • 67 Owen Gleiberman
    I wouldn't call Catwoman incompetent, yet it has no visual grandeur, and very little surprise; you can tick off the story beats as if they'd been graphed.
    • 27 Metascore
    • 50 Owen Gleiberman
    Thérese unfolds with the sunlight-and-daffodils piety of a Sunday school slide show.
    • 27 Metascore
    • 25 Owen Gleiberman
    As the brutish Kable, Gerard Butler must find out who's pulling his strings, but it's the audience whose chain gets yanked by this headache-inducing techno-violent mishmash.
    • 27 Metascore
    • 33 Owen Gleiberman
    Asia Argento is not what I would call a good actress, but she's a prime specimen of train-wreck sexuality: a debauched Eurotrash starlet who oozes punk cred more than she does talent. It's not too hard to see why she wanted to write, direct, and star in The Heart Is Deceitful Above All Things.
    • 27 Metascore
    • 50 Owen Gleiberman
    Welcome to the brave new world of slut-chic cosmetic feminism.
    • 27 Metascore
    • 50 Owen Gleiberman
    The movie is a feminist lesson instead of what it should have been (and once was): a tough, synthetic, high-gloss entertainment that wears its heart on its lacquered fingernails.
    • 27 Metascore
    • 16 Owen Gleiberman
    Selma Blair, the one vibrant actress in a cast of colorless screamers (including Tom Welling from Smallville and Maggie Grace from Lost), takes Adrienne Barbeau's old role.
    • 27 Metascore
    • 25 Owen Gleiberman
    An action-choked dud in which even the closing outtakes barely deserve to be left on the cutting-room floor?
    • 27 Metascore
    • 42 Owen Gleiberman
    In this American remake of the spooky, more-atmospheric-than-coherent 2005 J-horror thriller, the ghosts blink and crackle into existence with an electromagnetic sputter, but really, they're not so different from the gauzy, see-through spirits of yesteryear.
    • 27 Metascore
    • 42 Owen Gleiberman
    As a satire of new-style collegiate types, this MTV production actually evinces a few germs of rancid wit.
    • 27 Metascore
    • 25 Owen Gleiberman
    Murphy speaks in a breathy lisp, as if his mouth had been partially buttoned shut, and he doesn't give himself the nerd's traditional redeeming feature of a geeky, slide-rule intellect. Norbit, all frozen gawk, is just a very dim bulb.
    • 27 Metascore
    • 50 Owen Gleiberman
    A romantic comedy with all the confectionary value of one of those watery diet shakes; it practically evaporates while you're watching it.
    • 27 Metascore
    • 16 Owen Gleiberman
    With jokes this lame you won't have to worry as much about your children getting any bad ideas.
    • 26 Metascore
    • 16 Owen Gleiberman
    In theory, A Thousand Words should draw on its star's abilities as a physical comedian, but Murphy, miming his order for a triple latte at Starbucks, comes off like Charlie Chaplin on crystal meth; he's strenuously unfunny to watch.
    • 26 Metascore
    • 42 Owen Gleiberman
    Soft-core trash with a tent-show hook.
    • 26 Metascore
    • 42 Owen Gleiberman
    One of those desultory F/X and no script potboilers that seems to restart itself with every new scene.
    • 26 Metascore
    • 50 Owen Gleiberman
    Studded with Lampoon/John Hughes anachronisms.
    • 26 Metascore
    • 67 Owen Gleiberman
    Basic Instinct 2 isn't bad, exactly, but it lacks the entertaining vulgarity of the first film; it's Basic Instinct redone with more ''class'' and less thrust.
    • 26 Metascore
    • 0 Owen Gleiberman
    Dour, absurdist, gruesomely awful.
    • 26 Metascore
    • 83 Owen Gleiberman
    The film is consistently fun, and Tucker's comeuppance ? will leave you gasping (if not gagging) with laughter.
    • 26 Metascore
    • 50 Owen Gleiberman
    Stone's latest penance is Gloria, the Sidney Lumet-directed dud that sprung from the singularly bad idea of remaking John Cassavetes' oddball 1980 character study. I mean, really, did anyone even like the original?
    • 26 Metascore
    • 50 Owen Gleiberman
    The movie is short on wisdom, but it might have gotten by if it had had better filth.
    • 25 Metascore
    • 25 Owen Gleiberman
    The audience gets the message (religious fanaticism: bad), but nothing we see is convincing on its own.
    • 25 Metascore
    • 42 Owen Gleiberman
    It's hardly much of a thrill to see The One recycle, on a lower budget, the slo-mo bullet dodges from "The Matrix," along with unspectacular variations on several other of that film's time-bending demolition-ballet effects.
    • 25 Metascore
    • 25 Owen Gleiberman
    If any of these characters were half as resonant as Wenders appears to think they are, the film might have seemed charming instead of merely stranded.
    • 25 Metascore
    • 67 Owen Gleiberman
    This morphing of "The Bad News Bears" and a "Three Stooges" episode parades its dumbness with such zip that it almost passes for clever.
    • 25 Metascore
    • 58 Owen Gleiberman
    A clunky family-therapy soaper.
    • 25 Metascore
    • 42 Owen Gleiberman
    The creepy-faced robot twin babies are funny (for a while); the rest of the film is not. It's like "Meet the Parents" with Dr. Phil as the officiant from hell.
    • 25 Metascore
    • 42 Owen Gleiberman
    I'm happy to report, though, that even a dud like Spy Hard can't completely douse the stumbling Zen charm of Leslie Nielsen, whose genius is that he never quite sheds the illusion that he isn't in on the joke.
    • 25 Metascore
    • 50 Owen Gleiberman
    Obsessed has little plausibility, but at moments it's an entertaining bad movie, and the performers are vivid.
    • 25 Metascore
    • 16 Owen Gleiberman
    It will come as no surprise that the movie isn't scary. But here's the real damn: It isn't funny, either.
    • 25 Metascore
    • 25 Owen Gleiberman
    Another racial cartoon buddy movie that eagerly flogs its best laugh -- indeed, its only laugh -- in the trailer.
    • 25 Metascore
    • 50 Owen Gleiberman
    Director John Singleton offers bits of suspense, but Abduction is less a movie than a piece of engineering, a glumly ludicrous cat-and-mouse blowout designed to win Lautner male fans along with his girl demo.
    • 25 Metascore
    • 50 Owen Gleiberman
    There's only one place that a movie like this one can possibly be heading, and that's to a demagogic blowout of violent, femme-power payback. Enough gets there by way of far too many tedious detours.
    • 24 Metascore
    • 50 Owen Gleiberman
    Tastefully embarrassing.
    • 24 Metascore
    • 58 Owen Gleiberman
    A Jekyll-and-Hyde teen comedy that sounds like a Pauly Shore reject, but Qualls moves his marionette body around with a true clown's effervescence, and he does rubber-faced parodies of youth cool that are just what youth cool deserves.
    • 24 Metascore
    • 0 Owen Gleiberman
    The filmmakers even manage to turn seamy Bangkok into the least exotic setting imaginable.
    • 24 Metascore
    • 50 Owen Gleiberman
    It's every bit as nonsensical and overitalicized a mess as ''The Whole Nine Yards.''
    • 24 Metascore
    • 25 Owen Gleiberman
    The backstories keep piling up, with nods to "The Shining," "The Ring," and a dozen other gothic supernatural chillers, yet the result doesn't remotely scare you.
    • 24 Metascore
    • 50 Owen Gleiberman
    The only fun is in watching Stallone square off against Alan Cumming and Mickey Rourke.
    • 24 Metascore
    • 50 Owen Gleiberman
    An idiot variation on Frank Capra's ''Mr. Deeds Goes to Town,'' might have been thrown together in even less time than it takes Sandler to get dressed in the morning; it feels sort of like the dumbest corporate comedy of 1987.
    • 24 Metascore
    • 50 Owen Gleiberman
    Bride Wars pretends to be a satire of wedding mania, but since there's virtually nothing else to the movie, the satire comes depressingly close to endorsement.
    • 24 Metascore
    • 42 Owen Gleiberman
    Roland Joffé brings an artful video-grunge look, and not much else, to this "Saw" clone.
    • 24 Metascore
    • 25 Owen Gleiberman
    As anyone who has peered in on the actual WNBA for five minutes knows, professional women basketball players are as tough as men. That the film treats this as a joke isn't funny -- it's the height of lame condescension.
    • 24 Metascore
    • 33 Owen Gleiberman
    Jean-Claude Van Damme's latest dud.
    • 24 Metascore
    • 0 Owen Gleiberman
    Personally, I'd say that it was about time Arquette was leashed.
    • 24 Metascore
    • 33 Owen Gleiberman
    It takes the movie all of 15 minutes to descend into sub-Spielbergian banalities about poor Max's search for his absentee dad.
    • 24 Metascore
    • 67 Owen Gleiberman
    An eminently watchable B-movie nightmare.
    • 24 Metascore
    • 50 Owen Gleiberman
    The umpteenth recycled shocker about a mystical dark child with an aura of disaster.
    • 24 Metascore
    • 67 Owen Gleiberman
    Now that the series is, it can be said that the most disturbing thing about the Saw films is the way that they turn torture into a wink of megaplex vengeance. They're made, and consumed, as a big bloody joke, and that's scary.
    • 24 Metascore
    • 33 Owen Gleiberman
    Myers is trying for another of his endearingly hormonal imp-egomaniacs, but hidden behind a wavy beard, a wax-curled mustache, and an astoundingly ugly squashed fake nose, he's a little too grotesque.
    • 23 Metascore
    • 67 Owen Gleiberman
    Thanks to Vaughn, Favreau, and the stray sharp lines that pop out of everyone else, the film at least offers the lively sound of egos that still know how to swing.
    • 23 Metascore
    • 33 Owen Gleiberman
    It just makes you want to flip on the tube to see the real (fake) thing.
    • 23 Metascore
    • 50 Owen Gleiberman
    The film should have been called ''Lock, Stock and Two Wilting Barrels.''
    • 22 Metascore
    • 50 Owen Gleiberman
    In The Bounty Hunter, the couple that foils a bunch of tiresome grade-C thriller goons together stays together. Whether or not that's a recipe for love, it's certainly not a formula for romantic-comedy magic.
    • 22 Metascore
    • 0 Owen Gleiberman
    This may be the first talking-animal movie in which the critter hero seems to have been body-snatched by a commentator from C-SPAN.
    • 22 Metascore
    • 50 Owen Gleiberman
    One more case of a winning ''SNL'' character tamed by the wan, fizzled farce around him.
    • 22 Metascore
    • 58 Owen Gleiberman
    A synthetic yet shrill sadomasochistic cartoon.
    • 22 Metascore
    • 67 Owen Gleiberman
    New Year's Eve is dunderheaded kitsch, but it's the kind of marzipan movie that can sweetly soak up a holiday evening.
    • 22 Metascore
    • 42 Owen Gleiberman
    This underworld fairy tale is so soggy and sentimental it's like a new genre: Hallmark noir.
    • 22 Metascore
    • 33 Owen Gleiberman
    In its hostile sitcom way, Christmas With the Kranks is a paranoid comic nightmare of conformity gone mad.
    • 22 Metascore
    • 25 Owen Gleiberman
    It will have you groaning between yawns.
    • 21 Metascore
    • 33 Owen Gleiberman
    Few comedies have worked this hard to make everyone on screen look this dumb.
    • 21 Metascore
    • 0 Owen Gleiberman
    A black comedy in the form of vicarious serial punishment.
    • 21 Metascore
    • 16 Owen Gleiberman
    The Zodiac has been made with the dunderheaded flatness of bad '70s TV.
    • 21 Metascore
    • 50 Owen Gleiberman
    Lacks even the good, guilty setup of "I Know What You Did Last Summer" -- the sense that the heroes are fleeing the consequences of their own crime.
    • 21 Metascore
    • 0 Owen Gleiberman
    The picture is so lethargic that I began to think of watching it as a form of atonement.
    • 21 Metascore
    • 50 Owen Gleiberman
    Freddie Prinze Jr. has a look in his eye that is equal parts self-infatuation and boyish flash of fear.
    • 21 Metascore
    • 50 Owen Gleiberman
    This is a high octane ride that starts to leak gas before it even gets going.
    • 20 Metascore
    • 0 Owen Gleiberman
    It appears to have been modeled on the worst revenge-of-the-nerds clichés the filmmakers could dredge up.
    • 20 Metascore
    • 50 Owen Gleiberman
    The characters twirl around like mini tornadoes, but between random brash moments of technological eye-tickling, Son of the Mask sags more than it spins.
    • 20 Metascore
    • 50 Owen Gleiberman
    The movie is "Star Wars" with martial arts, plus a touch of "The Last Emperor." Technically, it's not badly done; I enjoyed the physical clash of elements, the water balls rising like sculpture in the air.
    • 20 Metascore
    • 50 Owen Gleiberman
    Ends up blowing its own joke. Instead of making Joe blissfully arrogant in his Southern rock dude myopia, it turns him into a shuffling masochistic loser.
    • 20 Metascore
    • 42 Owen Gleiberman
    Populated by ersatz versions of stars who, in this case, are fairly vanilla to begin with.
    • 20 Metascore
    • 0 Owen Gleiberman
    It might be courting hyperbole to call Corky Romano the single worst movie ever to feature an ''SNL'' cast member (Dan Aykroyd hit some pretty arid valleys), but I'm willing to go out on a critical limb and rank it among the all-time bottom dozen.
    • 19 Metascore
    • 25 Owen Gleiberman
    Someone (Myers?) came up with the bright idea of turning the Cat in the Hat into the worst Vegas nightclub spritzer of 1958. He's become a furry version of Rip Taylor: a walking, talking vaudeville idiot box.
    • 19 Metascore
    • 50 Owen Gleiberman
    Has the look of a great fairy tale -- all that's missing is the tale.
    • 19 Metascore
    • 0 Owen Gleiberman
    The comedy is nonexistent.
    • 19 Metascore
    • 75 Owen Gleiberman
    For Sandler, it's not just when he grew up. It's the garden of idiotic innocence, something that, in Grown Ups 2, he is helping to keep alive.
    • 19 Metascore
    • 42 Owen Gleiberman
    There are brutal scenes with razor blades and other impromptu devices of erotic torment, but what makes the movie a trial to sit through isn't just the heroine's pain-freak tastes.
    • 19 Metascore
    • 0 Owen Gleiberman
    Halloween: Resurrection comes closer to comatainment.
    • 19 Metascore
    • 33 Owen Gleiberman
    "Species" at least had the benefit of Henstridge's glazed porn-doll perversity, but this time any glimmers of sexual ominousness are buried in a lame, desultory chase plot and in the woefully underimagined special effects.
    • 18 Metascore
    • 25 Owen Gleiberman
    Doesn't contain a single scary or imaginative moment.
    • 18 Metascore
    • 33 Owen Gleiberman
    If you've always longed to see a Cold War satire done in the hit 'em over the head frantic camp mode of ''Love, American Style,'' then Company Man is the movie for you.
    • 18 Metascore
    • 58 Owen Gleiberman
    A watchable bad movie, but it's far from your typical cookie-cutter blockbuster. There are no shoot-outs or car chases, and there isn't much romantic suspense, either.
    • 18 Metascore
    • 67 Owen Gleiberman
    Ritchie made a movie that never pretends to be more than a guilty pleasure of soft-core kitsch, and Madonna and Giannini (son of Giancarlo, costar of the original) achieve a lively S&M chemistry.
    • 18 Metascore
    • 33 Owen Gleiberman
    This rusty jalopy of a movie, which is so ramshackle it's nearly enough to make you forget how tossed-together the 1976 ''Car Wash'' was.
    • 17 Metascore
    • 0 Owen Gleiberman
    As the killer, who plucks out his victims' eyeballs, Kane, the seven-foot bald WWE wrestler who's like a modern Tor Johnson, is so inept he's more cuddly than terrifying.
    • 17 Metascore
    • 0 Owen Gleiberman
    This may be the only would-be blockbuster that's a sprawling, dissociated mess on purpose. It's a perverse landmark: the first postmodern Hollywood disaster.
    • 17 Metascore
    • 83 Owen Gleiberman
    Far more grotesque than the first Human Centipede - in fact, The Human Centipede 2 (Full Sequence) could be the sickest B movie ever made.
    • 17 Metascore
    • 67 Owen Gleiberman
    Epic Movie is just timely enough to conclude with a wink and a nod to Borat. I only wish that it had been bold enough to go Borat on HIM.
    • 16 Metascore
    • 42 Owen Gleiberman
    Presents undercover law enforcement less as a profession than as an accessory, an excuse to pout and glower chicly, to stand around in nightclubs acting like a sullen version of the Last American Rebel.
    • 16 Metascore
    • 0 Owen Gleiberman
    A grisly piece of torture porn.
    • 16 Metascore
    • 16 Owen Gleiberman
    The movie, a shoddy mess, is a bargain-basement rip-off of ''Ronin."
    • 16 Metascore
    • 25 Owen Gleiberman
    By the end, you feel like a drill sergeant-you want to wipe that stupid grin off Sandler's face.
    • 16 Metascore
    • 58 Owen Gleiberman
    As Nomi, Elizabeth Berkley has exactly two emotions -- hot and bothered -- but her party-doll blowsiness works for the picture.
    • 16 Metascore
    • 33 Owen Gleiberman
    Though not quite the fiasco of revved-up gunplay that Beverly Hills Cop II was, this new movie, directed by John ''Rock-'em Sock-'em'' Landis, is just a clunky action thriller, with occasional comic moments rationed out to the audience like stray crumbs.
    • 15 Metascore
    • 67 Owen Gleiberman
    In its mingling of horniness and disgust, Tomcats attains a convoluted cleverness.
    • 15 Metascore
    • 25 Owen Gleiberman
    Darkness was clearly tossed together like salad in the editing room, since it's little more than the sum of its unshocking shock cuts.
    • 15 Metascore
    • 42 Owen Gleiberman
    A flat, heebie jeebies thriller.
    • 15 Metascore
    • 58 Owen Gleiberman
    The movie is merciless sending up "Juno's" self-satisfied hipster gobbledygook, and it's quite funny to see Hannah Montana still promoting her tie-in products as she lies crushed and dying under a meteor.
    • 15 Metascore
    • 42 Owen Gleiberman
    Friendly yet toothless, College musters little energy even as anarchic-party-movie nostalgia.
    • 14 Metascore
    • 16 Owen Gleiberman
    Confined to just a few sets, the movie is like the pilot for a sitcom you never want to see. Yet Ephron seems to think she's making a feel-good holiday classic: She floods the soundtrack with old pop versions of Christmas standards, trying to render stale comedy appetizing by drenching it in syrup. [23 Dec 1994, p.50]
    • Entertainment Weekly
    • 14 Metascore
    • 0 Owen Gleiberman
    Just... bad. As in BAD bad.
    • 14 Metascore
    • 0 Owen Gleiberman
    It's like ''Grease: The Next Generation'' acted out by the food-court staff at SeaWorld.
    • 14 Metascore
    • 25 Owen Gleiberman
    It's doubtful that even a real actress could have triumphed over the rusty tinsel of Glitter, a hapless, retro-'80s ''Star Is Born.''
    • 13 Metascore
    • 50 Owen Gleiberman
    A thriller primarily about the movement of Cindy Crawford's breasts beneath a succession of ever-smaller T-shirts.
    • 13 Metascore
    • 0 Owen Gleiberman
    To dismiss this movie for being ''offensive'' would be to offer it high praise.
    • 13 Metascore
    • 0 Owen Gleiberman
    For the audience, it's like watching the dreckiest of teen puppy courtships trying to pass itself off as ''Annie Hall.'' La-de-blah.
    • 13 Metascore
    • 50 Owen Gleiberman
    Dudsville.
    • 12 Metascore
    • 33 Owen Gleiberman
    The Avengers is too enervated to qualify as even a full-scale disaster.
    • 12 Metascore
    • 33 Owen Gleiberman
    The movie doesn't so much extend Schwartzman's antic outsider persona from ''Rushmore'' as uglify it, reducing him to the ultimate Uncool Anti-WASP.
    • 11 Metascore
    • 16 Owen Gleiberman
    Fragmented and monotonous, without a semblance of the gymnastic cleverness that at least made the first Mortal Kombat film into watchable trash, Mortal Kombat Annihilation is as debased as movies come.
    • 11 Metascore
    • 67 Owen Gleiberman
    In Date Movie, the hormones, anxiety, and princess jealousy that fuel the majority of Hollywood love stories are made so excessive that the romance itself is revealed to be...every bit as big a crock as it usually is.
    • 11 Metascore
    • 0 Owen Gleiberman
    Benigni's Pinocchio is meant to be adorable, but he comes off as less an enchanted puppet than as a harmlessly deranged middle-aged man prancing about in the kind of froufrou cream-colored pantsuit that Dinah Shore retired to her back closet in 1977.
    • 10 Metascore
    • 0 Owen Gleiberman
    The trouble with Whipped isn't that its characters are dirty mouthed horndog jerks -- it's that they're phony dirty mouthed horndog jerks.
    • 9 Metascore
    • 25 Owen Gleiberman
    Just a lumbering, poorly photographed piece of derivative sci-fi drivel, full of grunting extras scampering around in animal pelts and more dank, trash-strewn sets than I ever care to see again.
    • 7 Metascore
    • 25 Owen Gleiberman
    Writer-director-stars Zach Cregger and Trevor Moore, of the Whitest Kids U'Know, here prove the crassest, most maladroit moviemakers you know.
    • 7 Metascore
    • 0 Owen Gleiberman
    It's a shrill, stupid, brickbat-blatant piece of hackwork that practically sweats to be ''commercial.''
    • 7 Metascore
    • 33 Owen Gleiberman
    The Farrelly brothers could burp out a movie funnier than The Hottie & the Nottie, a farce of corrupt stereotypes that's never more grotesque than when it pretends to be more than skin-deep.
    • 5 Metascore
    • 0 Owen Gleiberman
    The only thing shocking about it, however, is the degree to which self-congratulatory gutter exhibitionism has become the degraded ash end of indie ''edge.''

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