Owen Gleiberman
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For 2,346 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 Joan Rivers: A Piece of Work
Lowest review score: 0 The First $20 Million Is Always the Hardest
Score distribution:
2,346 movie reviews
    • 53 Metascore
    • 91 Owen Gleiberman
    Then there's Todd Solondz's Palindromes, which is that rare event: a memorable provocation.
    • 57 Metascore
    • 91 Owen Gleiberman
    Dishes up some very corny jokes, but the images have a brighter-than-life vivacity.
    • 73 Metascore
    • 91 Owen Gleiberman
    An attack-of-the-aliens disaster film crafted with sinister technological grandeur -- a true popcorn apocalypse.
    • 66 Metascore
    • 91 Owen Gleiberman
    On the Outs parses the hopes and terrors of blasted lives with an empathy that never cheapens into pity. The movie wounds as much as it heals, and that's its true power.
    • 68 Metascore
    • 91 Owen Gleiberman
    The home-studio recording sequences in Hustle & Flow are funky, rowdy, and indelible. Brewer gives us the pleasure of watching characters create music from the ground up.
    • 68 Metascore
    • 91 Owen Gleiberman
    Romantic comedies usually strike one or two moods, but in Afterglow, the writer-director Alan Rudolph runs through rainbows of feeling in a single scene.
    • 73 Metascore
    • 91 Owen Gleiberman
    Buoyantly clever and amusing.
    • 88 Metascore
    • 91 Owen Gleiberman
    Capote honors its subject by doing just what Truman Capote did. It teases, fascinates, and haunts.
    • 66 Metascore
    • 91 Owen Gleiberman
    Directed by Tony Scott, Crimson Tide is the kind of sumptuously exciting undersea thriller that moves forward in quick, propulsive waves.
    • 90 Metascore
    • 91 Owen Gleiberman
    The Passenger isn't finally the masterpiece some have made it out to be, but it retains a singular intrigue: It's the first, and probably the last, thriller ever made about depression.
    • 71 Metascore
    • 91 Owen Gleiberman
    Greenwald floats the vital issue of whether Wal-Mart should be restrained by antimonopoly regulations, but his real question is cultural: Even with its rock-bottom prices, is Wal-Mart in the best interest of American consumers?
    • 53 Metascore
    • 91 Owen Gleiberman
    The movie is literally a series of showstoppers, unified by the impulse to turn life, at its scruffiest, into theater - into a rhapsody of the everyday.
    • 45 Metascore
    • 91 Owen Gleiberman
    The result is a wacked kiddie Rashomon in which the different versions dovetail with a logic as impeccable as it is flat-out buggy. So who do we root for? Everyone and no one. Hoodwinked's most radical feature is that it's a ride without heroes.
    • 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.
    • 68 Metascore
    • 91 Owen Gleiberman
    Jarecki is no glib ideologue thumbing his nose at power.
    • 62 Metascore
    • 91 Owen Gleiberman
    It's a fearless and brilliant racial-historical satire, done in a meticulous re-creation of the Ken Burns mode, that chronicles the last 150 years of America as if the South had won the Civil War.
    • 77 Metascore
    • 91 Owen Gleiberman
    The actors are terrific, especially Weaving, who plays bottoming out as a tragedy spiked with gallows humor, and Blanchett, who digs deep into the booby-trapped nature of recovery. The revelation, however, is Rowan Woods, a major filmmaker in the making.
    • 71 Metascore
    • 91 Owen Gleiberman
    That Thing You Do! is neither overly sentimental nor overly cynical. It looks at the invention of our pop-rock mythology, and the bands that fed it until they were consumed by it, just as you'd expect Tom Hanks to: with open eyes (and a raised eyebrow).
    • 75 Metascore
    • 91 Owen Gleiberman
    An Inconvenient Truth can't, of course, reveal a future that is still up to us, but by the time you're done watching, the real question is, Which way on God's green earth would you want to err?
    • 77 Metascore
    • 91 Owen Gleiberman
    The War Tapes captures how the war in Iraq, for all its terrible carnage and death, is in a way too random in its destruction to even be called ''combat.''
    • 70 Metascore
    • 91 Owen Gleiberman
    Who Killed the Electric Car? makes you angry, and also sad, to live in a country where innovation could be contrived into an enemy.
    • 55 Metascore
    • 91 Owen Gleiberman
    Idlewild is a romp, a ticket to rowdy good times.
    • 82 Metascore
    • 91 Owen Gleiberman
    Requiem is drawn from an incident that was also the basis for last year's demon-seed hit, "The Exorcism of Emily Rose."
    • 89 Metascore
    • 91 Owen Gleiberman
    When Baron Cohen works without a net, he flies.
    • 64 Metascore
    • 91 Owen Gleiberman
    The baby-voiced costar of "Chasing Amy" proves an effortless filmmaker, turning Lucy’s journey into the awakening of a soul.
    • 70 Metascore
    • 91 Owen Gleiberman
    Horton's attempt to authenticate the painting in the face of a hostile art establishment becomes a study in forensics, taste, money, and class warfare.
    • 68 Metascore
    • 91 Owen Gleiberman
    What hooks you from the start is Dakota Fanning's unfussy passion as Fern.
    • 65 Metascore
    • 91 Owen Gleiberman
    Moncrieff pushes a view of women as victims that might create its own pornography of masochism if it didn't touch so many authentic shattered nerve endings.
    • 88 Metascore
    • 91 Owen Gleiberman
    Mafioso does more than cast its fascinating shadow over "The Godfather." It captures, in a stark yet haunting way, the indelible fact that no man is born a mobster.
    • 82 Metascore
    • 91 Owen Gleiberman
    Moving and marvelous new cross-cultural family saga.