Owen Gleiberman
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For 2,348 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 The Bourne Supremacy
Lowest review score: 0 An Everlasting Piece
Score distribution:
2,348 movie reviews
    • 79 Metascore
    • 100 Owen Gleiberman
    Awesome documentary.
    • 79 Metascore
    • 91 Owen Gleiberman
    A domestic tragedy of lacerating vision.
    • 79 Metascore
    • 83 Owen Gleiberman
    Heavier on mood than incident, but its vision of a doomed erotic power war has a lurching authenticity.
    • 79 Metascore
    • 83 Owen Gleiberman
    Her memories lack the quality of revelation -- that is, up until the remarkable final section, in which she describes the last weeks in the bunker with Hitler and Eva Braun.
    • 79 Metascore
    • 83 Owen Gleiberman
    The surprise of Let Me In is that director Matt Reeves (Cloverfield) hasn't just remade the Swedish cult vampire film "Let the Right One In" into a more fluid and visceral movie. He's made it more dangerous.
    • 79 Metascore
    • 67 Owen Gleiberman
    It's an irony too significant to ignore that the movie, which proselytizes against penning up whales in order to make them do cute tricks for humans, spends much of its time making Willy do cute tricks for humans.
    • 79 Metascore
    • 100 Owen Gleiberman
    Lindhardt, sweet and childish and achingly vulnerable, gives a stunning performance.
    • 79 Metascore
    • 83 Owen Gleiberman
    Captures the Joe Strummer who, in the late 1970s, just about firebombed the rock establishment with his fury.
    • 79 Metascore
    • 83 Owen Gleiberman
    The movie draws us into complicity with someone who may be on the verge of insanity, but only because he's living with the unbearable.
    • 79 Metascore
    • 83 Owen Gleiberman
    Lurid and voluptuous pulp fun, with a sensationalistic fairy-tale allure. You can't take it too seriously, but you can't tear your eyes away from it, either.
    • 78 Metascore
    • 67 Owen Gleiberman
    Directed by the ingenious documentarian Errol Morris (The Thin Blue Line), A Brief History of Time held out the promise of being an audacious, brain-bending experience. Instead, it's plodding and disappointingly conventional.
    • 78 Metascore
    • 50 Owen Gleiberman
    You'd have to be a stone not to be affected by My Flesh and Blood, but the director, Jonathan Karsh, merges compassion with voyeurism until you can't tell the difference.
    • 78 Metascore
    • 91 Owen Gleiberman
    Godzilla is still the most awesome of tacky movie monsters.
    • 78 Metascore
    • 83 Owen Gleiberman
    Control goes past the clichés of punk rock-god gloom to offer a snapshot of alienation that's shockingly humane.
    • 78 Metascore
    • 91 Owen Gleiberman
    Andrew Wagner has made a lovely comedy of death and rebirth.
    • 78 Metascore
    • 67 Owen Gleiberman
    Displays a promise it doesn't, in the end, live up to. See it for Swinton's embodiment of unadulterated maternal will.
    • 78 Metascore
    • 83 Owen Gleiberman
    Spitting obscenities at the film's director, Jay Bulger, Baker recalls his days as: the '60s thrash caveman who gave Cream and Blind Faith their transcendent power surge; the pioneer of druggy hotel-room rampages; and the damaged purist who left the pop world for Africa. The movie salutes the rhythms and the wreckage.
    • 78 Metascore
    • 83 Owen Gleiberman
    Andrew Bujalski's Funny Ha Ha, an ebullient sliver of a movie, follows a group of men and women in their early 20s, and for once the un-dialogue dialogue doesn't come off as an affectation.
    • 78 Metascore
    • 67 Owen Gleiberman
    The movie has a hushed sensual resonance, but it turns faith into an endurance test.
    • 78 Metascore
    • 100 Owen Gleiberman
    The movie is rich with class tension, and if Allen nails the moods of the wealthy, he also gets surprising, dynamic performances from Hawkins, Cannavale, and Andrew Dice Clay as the folks who have no money but may have a fuller sense of what life is.
    • 78 Metascore
    • 83 Owen Gleiberman
    The Golden Army dazzles like something out of "Jason and the Argonauts." To make a comic-book fantasy this derivative yet this dazzling requires more than technique. It takes a director in touch with his inner hellboy.
    • 78 Metascore
    • 100 Owen Gleiberman
    The film takes off from formula elements-it's yet another variation on "Die Hard"-but it manipulates those elements so skillfully, with such a canny mixture of delirium and restraint, that I walked out of the picture with the rare sensation that every gaudy thrill had been earned.
    • 78 Metascore
    • 50 Owen Gleiberman
    Designed to be "inspirational," yet it shortchanges the complex reality of the lives it makes such a show of saving.
    • 78 Metascore
    • 67 Owen Gleiberman
    An epic aestheticization of World War II, a movie at once bold and baffling, immediate and abstract.
    • 78 Metascore
    • 67 Owen Gleiberman
    The songs of the South African freedom fighters were a literal call to arms. The music succeeded -- magnificently. The movie, on the other hand, is only so-so.
    • 78 Metascore
    • 83 Owen Gleiberman
    Deeply rich and strange new romantic comedy.
    • 78 Metascore
    • 83 Owen Gleiberman
    Gini Reticker's simply made, affecting documentary Pray the Devil Back to Hell reveals how these heroic ordinary women prodded the factions to peace and literally brought down Taylor, a leader of sociopathic cruelty.
    • 78 Metascore
    • 91 Owen Gleiberman
    The film defuses all preconceptions about the ''issues'' of transsexual identity to arrive at a place of tremulous human power.
    • 78 Metascore
    • 75 Owen Gleiberman
    In this offbeat buddy-cop comedy, Don Cheadle, as an FBI agent trying to stop a drug ring, makes the perfect foil.
    • 78 Metascore
    • 67 Owen Gleiberman
    You giggle every so often, but you never give yourself over to the characters.

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