Owen Gleiberman

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For 2,771 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 3.1 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 A Very Harold & Kumar Christmas
Lowest review score: 0 Corky Romano
Score distribution:
2771 movie reviews
    • 49 Metascore
    • 75 Owen Gleiberman
    The film keeps throwing things at you, like a colorful ape pirate (Peter Dinklage) and a fun hallucination sequence. That said, the laughs are starting to feel prehistoric.
    • 56 Metascore
    • 67 Owen Gleiberman
    Donovan, acting with ironic reserve, hands the movie to Morse, who makes his character the kind of crank you can care about just because he's so abysmally lost.
    • 57 Metascore
    • 91 Owen Gleiberman
    Part of Me works hard to prove it's more than a glorified infomercial, and one reason it is more is that Perry has a startling story to tell.
    • 59 Metascore
    • 83 Owen Gleiberman
    Savages is Oliver Stone doing what he should have done a long time ago: making a tricky, amoral, down-and-dirty crime thriller that's blessedly free of any social, topical, or political relevance.
    • 49 Metascore
    • 58 Owen Gleiberman
    People Like Us demonstrates how a drama can be heartfelt and bogus at the same time.
    • 72 Metascore
    • 91 Owen Gleiberman
    The movie is Mike's story, and Channing Tatum proves himself a true movie star. His Mike glides through the world with the ease of a god, and on stage he's electrifying.
    • 72 Metascore
    • 83 Owen Gleiberman
    The movie is fascinating, though it smacks its own lips a bit too much at the tackiness of freak '70s stardom.
    • 66 Metascore
    • 50 Owen Gleiberman
    Fourteen years after "Happiness," why is director Todd Solondz still mucking around with the sort of idiot neurotic dweeb who makes George Costanza look like George Clooney?
    • 54 Metascore
    • 67 Owen Gleiberman
    Woody Allen has become such a beguiling travel agent that he rolls through these stories with a relaxed effervescence that is rather infectious.
    • 31 Metascore
    • 67 Owen Gleiberman
    Never underestimate the importance of guy-on-guy sentimentality in the Adam Sandler universe. It's his way of making his fans feel as if he's high-fiving them, or maybe giving them a group hug. But Sandler, bottom line, is too good at playing louts like Donny to spend this much energy getting us to like them.
    • 74 Metascore
    • 91 Owen Gleiberman
    We're given an intimate seat to this wildly democratic - and creepily messianic - spectacle.
    • 47 Metascore
    • 50 Owen Gleiberman
    Most of the numbers in Rock of Ages are flatly shot and choreographed, and they look as if they'd been edited together with a meat cleaver. With rare exceptions, they don't channel the excitement of the music - they stultify it.
    • 49 Metascore
    • 67 Owen Gleiberman
    Gerwig is adorable, but that's both good and bad, as the movie can't stop cuing us to see that Lola's winsomeness will rescue her.
    • 72 Metascore
    • 75 Owen Gleiberman
    Safety Not Guaranteed is a fable of ''redemption,'' and it's too tidy by half, but it is also very sweetly told.
    • 60 Metascore
    • 83 Owen Gleiberman
    The story in Madagascar 3 is functional, but the antically civilized spirit is infectious.
    • 57 Metascore
    • 58 Owen Gleiberman
    A tastefully overbearing franchise fairy tale with a handful of ravishing touches.
    • 74 Metascore
    • 75 Owen Gleiberman
    The film can be rambling and glib, yet it's no mere crime drama. It captures a middle-class French society that looks more humane than ours, but is just as messed up.
    • 35 Metascore
    • 83 Owen Gleiberman
    The best thing about the movie is that it keeps drawing conclusions in opposite directions.
    • 41 Metascore
    • 75 Owen Gleiberman
    As sociology, it's skin-deep, but if you're a parent or preparing to be one, you might see yourself in a few of these folks and have a good time doing so.
    • 60 Metascore
    • 58 Owen Gleiberman
    The movie gets mired in these deceptive mechanics. It shows no curiosity about the hatred, so the characters seem less than whole.
    • 56 Metascore
    • 50 Owen Gleiberman
    Bobcat Goldthwait's new movie is a burlesque that turns into a harangue that turns into a rampage.
    • 55 Metascore
    • 83 Owen Gleiberman
    Depp's performance is more than just funny - it's ghoulishly endearing.
    • 44 Metascore
    • 50 Owen Gleiberman
    The film, devising events that led up to his mysterious death in 1849, is also the most gruesomely literal-minded of period detective stories.
    • 69 Metascore
    • 83 Owen Gleiberman
    In terms of storytelling, The Avengers is for the most part a highly functional, banged-together vehicle that runs on synthetic franchise fuel. Yet the grand finale of CGI action, set in the streets of New York, is - in every sense - smashing.
    • 55 Metascore
    • 58 Owen Gleiberman
    Safe has more action than intrigue (or logic), and it's boilerplate vicious. It may satisfy Statham's fans, but they - like he - would do well to enlarge their expectations.
    • 67 Metascore
    • 83 Owen Gleiberman
    Sound of My Voice doesn't follow through on everything it sets up, yet it has a hushed and revealing psycho-intensity. It also has an oh-wow Twilight Zone ending that truly made me go, ''Oh, wow.''
    • 62 Metascore
    • 83 Owen Gleiberman
    A lively, original, and scattershot-hilarious ramble of a Judd Apatow production.
    • 39 Metascore
    • 50 Owen Gleiberman
    The Lucky One doesn't have the schlock rapture of "The Notebook" (the one Sparks adaptation that has really worked). The trouble with the movie isn't that it's too girly-swoony; it's that it tries to achieve emotion through glowy sunsets and a paint-by-numbers script.
    • 41 Metascore
    • 50 Owen Gleiberman
    Lawrence Kasdan's comedy strikes a note of rib-nudging blah coyness that feels very 1987.
    • 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.

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