Owen Gleiberman

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For 2,665 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 Love, Marilyn
Lowest review score: 0 Being Human
Score distribution:
2665 movie reviews
    • 86 Metascore
    • 80 Owen Gleiberman
    It’s a moving film, but it leaves a hole in one’s outrage.
    • 74 Metascore
    • 90 Owen Gleiberman
    Downsizing is an ingenious comedy of scale, a touching tale of a man whose problems grow bigger as he gets smaller, and an earnest environmental parable.
    • 69 Metascore
    • 60 Owen Gleiberman
    Polina is vivid as dance but vague as drama.
    • 80 Metascore
    • 70 Owen Gleiberman
    A lively and appealing analog-nostalgia documentary.
    • 36 Metascore
    • 50 Owen Gleiberman
    As an animated entertainment, The Nut Job 2 lacks several key factors: memorable characters, a fun story, jokes that will appeal to adults as well as little kids. But one thing it does not lack is visual momentum.
    • 66 Metascore
    • 70 Owen Gleiberman
    The thing you want from a documentary about his holiness the 14th Dalai Lama is the chance to get right up close to him, in the way that movies can do. You want the chance to bask in his presence and come out with a heightened sense of what he’s about. The Last Dalai Lama? accomplishes that, and with an offhand eloquence, though it’s a sketchy, catch-as-catch-can movie.
    • 33 Metascore
    • 70 Owen Gleiberman
    If it’s less punchy and original than “(500) Days of Summer,” it’s still a wry tale that deserves to be seen. Gerald keeps telling Thomas that life should be a mess, but in The Only Living Boy in New York it’s a pleasingly witty and well-observed one.
    • 34 Metascore
    • 70 Owen Gleiberman
    It’s a highly competent and watchable paranoid metaphysical video game that doesn’t overstay its welcome, includes some luridly entertaining visual effects, and — it has to be said — summons an emotional impact of close to zero. Which in a film like this one isn’t necessarily a disadvantage.
    • 80 Metascore
    • 70 Owen Gleiberman
    The strength, and fascination, of The Force is that the movie isn’t on anyone’s side. It’s cognizant of the brutality and violence that police officers, in our era, have been caught on phone cameras committing. At the same time, it’s not out to demonize the police — it’s out to capture the pressures they’re under, and to show us what their job looks like from the inside.
    • 12 Metascore
    • 40 Owen Gleiberman
    There have been worse ideas, but in this case the execution isn’t good enough to bring the notion of an emoji movie to funky, surprising life.
    • 78 Metascore
    • 90 Owen Gleiberman
    Logan Lucky is Soderbergh in mid-season form, and there should be a solid summer niche for a movie that’s this much ripsnorting fun.
    • 78 Metascore
    • 100 Owen Gleiberman
    Bigelow, working from a script by her regular collaborator Mark Boal (it’s their first film since “Zero Dark Thirty”), has created a turbulent, live-wire panorama of race in America that feels like it’s all unfolding in the moment, and that’s its power. We’re not watching tidy, well-meaning lessons — we’re watching people driven, by an impossible situation, to act out who they really are.
    • 66 Metascore
    • 60 Owen Gleiberman
    What do you call a movie about a midlife non-crisis? How about tame, competent, mildly touching, and a little dull — except for Catherine Deneuve's fearless turn as a boozing, ailing wreck.
    • 59 Metascore
    • 60 Owen Gleiberman
    Lemon is a comedy of miserablism that keeps poking you in the ribs — and, quite often, fails to hit the rib it’s aiming for. Yet it’s a watchable curio, because beneath it all the director, the Panamanian-born Janicza Bravo, has a more conventional sensibility than she lets on.
    • 66 Metascore
    • 40 Owen Gleiberman
    The Reagan Show, unfortunately, isn’t the movie that it pretends to be. It’s a glib and scattered exposé.
    • 76 Metascore
    • 67 Owen Gleiberman
    Sin, more stylized than the director’s previous work, is also more detached.
    • 61 Metascore
    • 80 Owen Gleiberman
    The Rehearsal is engrossing, but it’s not a major vision.
    • 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.
    • 47 Metascore
    • 33 Owen Gleiberman
    A massive Hollywood biopic about a man who never quite seems there.
    • 64 Metascore
    • 58 Owen Gleiberman
    For Patriot Games to have been more than a generic international thriller, it would have needed to take us deep inside the clandestine organizations — the IRA and the CIA — on which Clancy is fixated. That doesn’t happen.
    • 30 Metascore
    • 30 Owen Gleiberman
    The House, like too many Hollywood comedies of outrage, turns the extreme into the innocuous.
    • 61 Metascore
    • 83 Owen Gleiberman
    Hot Shots! offers a satisfying kick in the pants to a movie (and an era) that has more than earned it.
    • 73 Metascore
    • 60 Owen Gleiberman
    It’s fine — and true enough to Marvel — to make a “Spider-Man” movie about a young adult, but Spider-Man: Homecoming has an aggressively eager and prosaic YA flavor.
    • 68 Metascore
    • 80 Owen Gleiberman
    What the film offers is evidence of a pattern, the shadows of a disturbing trend that add up to a warning: If we, as a society, don’t push back against the chipping away of the freedom of information, it’s only going to get worse, until it eats us alive.
    • 28 Metascore
    • 60 Owen Gleiberman
    For the first time, the messy hyperactive form and nihilistic crunched-metal content seem to reinforce each other.
    • 38 Metascore
    • 60 Owen Gleiberman
    Comprehensive but sketchy, richly atmospheric but often under-dramatized, it is not, in the end, a very good movie.... Yet it’s highly worth seeing, because in its volatility and hunger, and the desperation of its violence, it captures something about the space in which Tupac Shakur lived.
    • 31 Metascore
    • 30 Owen Gleiberman
    The film’s muted yet still rather flamboyant terribleness derives from the fact that it seems to be juggling three or four borderline schlock genres at once.
    • 51 Metascore
    • 70 Owen Gleiberman
    Rough Night, a bachelorette-party-from-hell thriller comedy that’s got some push and some laughs, despite its essentially formulaic nature, is a perfect example of why Hollywood needs (many) more women filmmakers.
    • 53 Metascore
    • 70 Owen Gleiberman
    The Journey, thanks to its buddy-movie structure, is destined to feel a little corny, but the movie gets at something real. It’s a celebration, by two splendid actors, of the art of political theater.
    • 59 Metascore
    • 70 Owen Gleiberman
    Cars 3 is a friendly, rollicking movie made with warmth and dash, and to the extent that it taps our primal affection for this series, it more than gets the job done.

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