Owen Gleiberman

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For 2,510 reviews, this critic has graded:
  • 66% higher than the average critic
  • 2% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 4.4 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Bridesmaids
Lowest review score: 0 Manderlay
Score distribution:
2510 movie reviews
    • 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.
    • 65 Metascore
    • 91 Owen Gleiberman
    Just when you're certain that Jarmusch is treading water with his borderline-tedious cleverness, something happens: Coffee and Cigarettes turns into a movie FULL of talk -- rich, supple, hilarious, masterfully orchestrated talk.
    • 69 Metascore
    • 91 Owen Gleiberman
    Soderbergh is able to execute his games without pigeonholing his characters. He has made that rare thing, a modern-day noir with feeling.
    • 82 Metascore
    • 91 Owen Gleiberman
    Marley was directed by the gifted Kevin Macdonald (The Last King of Scotland), who shows off his chops not by doing anything dazzling - the film is documentary prose, not poetry - but by treating Marley as a man of depth and nuance, of inner light and shadow.
    • 38 Metascore
    • 91 Owen Gleiberman
    Breathless and petite yet powerfully in-your-face, Fisher combines dizzy femininity and no-nonsense verve in the manner of a classic screwball heroine. She's like Carole Lombard reborn as a tiny angel-faced dynamo.
    • 80 Metascore
    • 91 Owen Gleiberman
    The film casts a hypnotic spell all its own. It artfully sketches out the events for anyone who's coming in cold, but basically, its strategy is to take what we already know and go deeper.
    • 76 Metascore
    • 91 Owen Gleiberman
    For nostalgia junkies, it's one from the heart.
    • 83 Metascore
    • 91 Owen Gleiberman
    The writer-director, Peter Sollett, cast the film with kids from his own neighborhood, who give themselves over to the camera with a spirit of improvised play that morphs into vivid, layered acting.
    • 69 Metascore
    • 91 Owen Gleiberman
    Does the movie, with its sock-puppet intros and narration by RuPaul Charles, mock Tammy Faye, sanctify her, or turn her into a flamboyant image of distressed womanly martyrdom -- the Judy Garland of televangelism? All of the above.
    • 86 Metascore
    • 91 Owen Gleiberman
    The result is something as original as it is unlikely: a study in grief that is flooded with happiness.
    • 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.
    • 62 Metascore
    • 91 Owen Gleiberman
    Turns the tricks of psychology into duplicitous high play.
    • 89 Metascore
    • 91 Owen Gleiberman
    Days after I saw The Artist, I was still thinking (and grinning) about it, because the movie's real romance is the one between us, the jaded 21st-century audience, and the mechanical innocence of old movies, which here becomes new again.
    • 73 Metascore
    • 91 Owen Gleiberman
    The movie also captures Thompson's tragedy: the haze of drugs and bad writing that consumed him for no less than his last 30 years.
    • 73 Metascore
    • 91 Owen Gleiberman
    It takes skill these days, if not nerve, to put a vital, happy nuclear family on screen and to invite us to share in every quiet tremor, every gentle jostle and smile of their steady, deep-flowing contentment.
    • 69 Metascore
    • 91 Owen Gleiberman
    A rowdy, richly offbeat biopic.
    • 61 Metascore
    • 91 Owen Gleiberman
    Deconstructing Harry is Woody Allen's naughty-boy confessional movie, a disquietingly candid and funny portrait of a pathological narcissist.
    • 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.
    • 82 Metascore
    • 91 Owen Gleiberman
    Moving and marvelous new cross-cultural family saga.
    • 75 Metascore
    • 91 Owen Gleiberman
    There have, over the years, been a lot of terrific undersea documentaries, but if you want to know what distinguishes this new one, it comes down to a single word: technology.
    • 82 Metascore
    • 91 Owen Gleiberman
    The clever and infectious reboot of the amazingly enduring sci-fi classic, director J.J. Abrams crafts an origin myth that avoids any hint of the origin doldrums. That's because he rewires us back into the original Star Trek's primal appeal.
    • 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?
    • 87 Metascore
    • 91 Owen Gleiberman
    Part of what makes One False Move so engrossing is the way the characters keep revealing new, darker sides. The movie is about hidden American links — between city and country, cop and criminal, and the black and white subcultures of the rural South.
    • 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.
    • 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."
    • 85 Metascore
    • 91 Owen Gleiberman
    A spectacular windup toy of a thriller -- a contraption made by an artist.
    • 63 Metascore
    • 91 Owen Gleiberman
    It's scary good fun.
    • 58 Metascore
    • 91 Owen Gleiberman
    It takes skill — a certain sly, even perverse nimbleness of craft — to make an homage to schlock movies that treats them as works of art.
    • 69 Metascore
    • 91 Owen Gleiberman
    The film may be bloody, but it's also bloody gorgeous: a grandly fetishized epic of cinematic aggression. It's a tale of vengeance that hinges on Tarantino's love of ferocity as spectacle -- his immersion in action and exploitation, his addiction to the jazzy catharsis of junk-film kicks.
    • 87 Metascore
    • 91 Owen Gleiberman
    The supersmart and rousing Moneyball, which may be the best baseball movie since "Bull Durham," is also about talk, but in a coolly heady and original inside-the-front-office way.

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