Owen Gleiberman

Select another critic »
For 2,460 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 4.5 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Junebug
Lowest review score: 0 Undead
Score distribution:
2460 movie reviews
    • 72 Metascore
    • 91 Owen Gleiberman
    The finest rock doc since "Anvil: The Story of Anvil." Matt Berninger, lead singer of the National, is a 40ish indie-rock star who carries himself like a hip lawyer.
    • 90 Metascore
    • 91 Owen Gleiberman
    Rachel Boynton’s gripping doc shows you what happens when the greed of oil companies meets the chaos of postcolonial Africa.
    • 59 Metascore
    • 91 Owen Gleiberman
    Alien3 is a grimly seductive end-of-the-world thriller, with pop-tragic overtones that build in resonance as the movie goes on.
    • 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.
    • 52 Metascore
    • 91 Owen Gleiberman
    The film is like East of Eden replayed as a hyperbolic rock fever dream. There are a few sour, juvenile moments, but this is the rare pop movie that works the way a great rock & roll song does: It tells a simple, almost elemental tale and uses the music to set it aflame.
    • 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.
    • 70 Metascore
    • 90 Owen Gleiberman
    The Nice Guys is an ultra-violent burlesque, the sort of cheerfully hostile buddy bash that’s been a staple since the ’80s, only this one is singularly clever about its own triviality, and it offers the scruffy pleasure of seeing two great actors dial down their gravitas with style.
    • 66 Metascore
    • 90 Owen Gleiberman
    Bryan Cranston gives the most authentic and lived-in performance as an agent pretending to be a criminal that I have ever seen.
    • 57 Metascore
    • 90 Owen Gleiberman
    War Dogs marks a key turning point for Phillips. After all these years of yocks, it’s his first true grown-up movie, and it’s a nimble, gripping, and terrific one, with plenty of laughs, only now they’re rooted in the reality of fear, and in behavior that’s authentically scurrilous.
    • 67 Metascore
    • 90 Owen Gleiberman
    Ford is a true moviemaker — a social observer who’s a junkie for sensation and narrative. He has structured Nocturnal Animals beautifully, so that the past feeds into the present, and fiction into reality.
    • 56 Metascore
    • 90 Owen Gleiberman
    It’s poised between reality and paranoid daydream, it’s about the dangerous ways that love can go wrong, and it does the thing that noir was invented to do: It sucks you in.
    • 56 Metascore
    • 83 Owen Gleiberman
    Doesn't offer anything to adult viewers as thrilling, as shivery, as satisfyingly primal as Steven Spielberg's intricate predator choreography in the original ''Jurassic Park.''
    • 58 Metascore
    • 83 Owen Gleiberman
    Undisputed is a shrewd and splendidly volatile B movie structured around a highly original gambit of suspense.
    • 64 Metascore
    • 83 Owen Gleiberman
    Funny and ebullient look at a man in full confusion.
    • 73 Metascore
    • 83 Owen Gleiberman
    Roberts, in her most forceful dramatic performance, allows us to take in every moment through fresh, impassioned eyes.
    • 59 Metascore
    • 83 Owen Gleiberman
    It's eye candy that detonates.
    • 71 Metascore
    • 83 Owen Gleiberman
    The Australian actress Frances O'Connor is a true find. She's as beautiful as the young Barbara Hershey, with a stare that's pensive yet playful, and she puts us in touch with the quiet battle of emotions in Fanny.
    • 74 Metascore
    • 83 Owen Gleiberman
    Washington immerses himself, even more than he did in "Malcolm X," in a stare of unforgiving outrage.
    • 80 Metascore
    • 83 Owen Gleiberman
    Moving and eerily beautiful.
    • 71 Metascore
    • 83 Owen Gleiberman
    A sturdily diverting old fashioned heist thriller that looks like a masterpiece of sheer competence next to the slovenly action fantasy F/X grab bags that have been passing for summer entertainment.
    • 72 Metascore
    • 83 Owen Gleiberman
    A romp of romantic larceny built out of spare parts we've seen in countless other films.
    • 77 Metascore
    • 83 Owen Gleiberman
    Unlike the first two Decline films, this one is only tangentially concerned with music.
    • 66 Metascore
    • 83 Owen Gleiberman
    The rare case in which a filmmaker's unadulterated worship of his subjects adds force and resonance--and not just luster--to the way that we see them.
    • 36 Metascore
    • 83 Owen Gleiberman
    It may be the first movie that mirrors, in its very syntax, the ''snap crackle and pop'' narcotic superficiality of the E! channel. I mean that as a compliment.
    • 50 Metascore
    • 83 Owen Gleiberman
    Passionate and saucy comedy.
    • 79 Metascore
    • 83 Owen Gleiberman
    Heavier on mood than incident, but its vision of a doomed erotic power war has a lurching authenticity.
    • 47 Metascore
    • 83 Owen Gleiberman
    It's like Woodstock without the mud, and it leaves you feeling clean.
    • 47 Metascore
    • 83 Owen Gleiberman
    A pulsating snapshot of America caught in a mad, liberating identity crisis.
    • 62 Metascore
    • 83 Owen Gleiberman
    Somberly fantastic new mystery thriller.
    • 53 Metascore
    • 83 Owen Gleiberman
    O
    To an astonishing degree, O gets the tragic Shakespeare mood, that somber stentorian passion born of hidden slivers of ambition and betrayal.

Top Trailers