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 6.4 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 (500) Days of Summer
Lowest review score: 0 The Last House on the Left
Score distribution:
2,347 movie reviews
    • 82 Metascore
    • 91 Owen Gleiberman
    A tale of ordinary Americans scraping bottom, yet there's a redemption in that. The film asks: If you were this desperate, wouldn't you do the same?
    • 56 Metascore
    • 91 Owen Gleiberman
    He's a bombs-away provocateur, and in Religulous, Maher's blasphemous detonation of all things holy and scriptural, he doesn't really pretend to play fair. He's like Lenny Bruce with an inquiring mind and a video camera.
    • 54 Metascore
    • 91 Owen Gleiberman
    His (Townsend) staging has a tumult, a multi-POV immediacy that brings to mind Paul Greengrass' "Bloody Sunday."
    • 84 Metascore
    • 91 Owen Gleiberman
    The final shot, of the three characters now united, may be the quietest affirmation of life I've ever seen in a movie, and one of the truest.
    • 84 Metascore
    • 91 Owen Gleiberman
    A fascinating film -- more docudrama than biopic.
    • 80 Metascore
    • 91 Owen Gleiberman
    Wendy and Lucy is like "Lassie Come Home" directed by Antonioni. What's piercing about it, and also disturbing, is that Reichardt views the renunciation of society with something close to righteous purity -- as a lefty romantic dream.
    • 53 Metascore
    • 91 Owen Gleiberman
    Wilson has a scene near the end with Marley that's the most wrenchingly tender acting of his career.
    • 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.
    • 64 Metascore
    • 91 Owen Gleiberman
    Spins a thorny tale of political corruption laced with personal sleaze.
    • 74 Metascore
    • 91 Owen Gleiberman
    James Gray's Two Lovers really is a '70s movie, in the mode of such raw, unfiltered character studies as "The Panic in Needle Park," "Wanda," and "Fat City."
    • 63 Metascore
    • 91 Owen Gleiberman
    The Great Buck Howard is in love with kitsch, the backwaters of showbiz, and true magic. It's a wee charmer that left me enchanted.
    • 59 Metascore
    • 91 Owen Gleiberman
    Plato's Retreat was a buffet of bodies, and the film catches the moment America could think that was tasty.
    • 76 Metascore
    • 91 Owen Gleiberman
    For nostalgia junkies, it's one from the heart.
    • 64 Metascore
    • 91 Owen Gleiberman
    The movie excoriates the hypocrisy of self-hating gay lawmakers (several of whom it outs), yet it also explores the burden of the public closet.
    • 54 Metascore
    • 91 Owen Gleiberman
    The movie is a toxic dart aimed at the spangly new heart of American hypocrisy: our fake-tolerant, fake-charitable, fake-liberated-yet-still madly-closeted fame culture.
    • 79 Metascore
    • 91 Owen Gleiberman
    Working with affectionate mockery, the Coens take the cinder-block-synagogue banality of American Jewish life in 1967 and make it look as archly exotic as the loopy Scandinavian-American winterscape of "Fargo."
    • 70 Metascore
    • 91 Owen Gleiberman
    The movie is an unblinking look at the hidden (or perhaps not so hidden) pathology of American sports mania.
    • 68 Metascore
    • 91 Owen Gleiberman
    With its this-is-really-happening vibe, Paranormal Activity scrapes away 30 years of encrusted nightmare clich├ęs. The fear is real, all right, because the fear is really in you.
    • 71 Metascore
    • 91 Owen Gleiberman
    You may want to dispute Ruppert, but more than that you'll want to hear him, because what he says -- right or wrong, prophecy or paranoia -- takes up residence in your mind.
    • 69 Metascore
    • 91 Owen Gleiberman
    Bad Lieutenant doesn't go where you expect, but it has a stubborn, trippy logic.
    • 58 Metascore
    • 91 Owen Gleiberman
    This brave documentary takes on the topic of anti-Semitism in a relentlessly probing and original way.
    • 77 Metascore
    • 91 Owen Gleiberman
    Firth plays him as a man of his time who is also mournfully ahead of his time. He's addicted to his own broken heart. A Single Man may break yours as well.
    • 74 Metascore
    • 91 Owen Gleiberman
    Rouses you in conventional ways, but it's also the rare animated film that uses 3-D for its breathtaking spatial and emotional possibilities.
    • 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.
    • 68 Metascore
    • 91 Owen Gleiberman
    Casino Jack is really a look at how the culture of Washington was rebuilt to sell itself to the highest bidder.
    • 74 Metascore
    • 91 Owen Gleiberman
    Cyrus cues us to expect it to go over the top, but the film never does. That may be its neatest trick
    • 74 Metascore
    • 91 Owen Gleiberman
    Stonewall Uprising does an evocative job of coloring in the oppression of gay life before Stonewall, so that when the eruption happens, we feel its necessity in our bones.
    • 83 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.
    • 70 Metascore
    • 91 Owen Gleiberman
    Countdown to Zero makes old terrors radioactively new again.
    • 64 Metascore
    • 91 Owen Gleiberman
    It's a comedy of manhood for the age of emasculation.

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