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 Quiz Show
Lowest review score: 0 In the Cut
Score distribution:
2,347 movie reviews
    • 35 Metascore
    • 50 Owen Gleiberman
    Indecent Proposal starts out kinky and turns into a languid-and shockingly banal- domestic soap opera.
    • 72 Metascore
    • 50 Owen Gleiberman
    The movie is so prefab, so plastically aware of being ''corny,'' ''romantic,'' and ''old-fashioned,'' that it feels programmed to make you fall in love with it.
    • 59 Metascore
    • 50 Owen Gleiberman
    One of those raucous, hyperactive kiddie flicks that knocks you upside the head from its opening frame.
    • 63 Metascore
    • 50 Owen Gleiberman
    It would be hard to imagine a filmmaking style as serious yet lazy as the earnest vérité bobbing and weaving employed by La Petite Jérusalem.
    • 65 Metascore
    • 50 Owen Gleiberman
    A Soldier's Daughter Never Cries is suffused with a rarefied emotional glow, and that's something contemporary audiences may be almost desperate to respond to. Yet the movie is also tentative, rambling, and maddeningly shapeless.
    • 45 Metascore
    • 50 Owen Gleiberman
    As an actress, Bynes is wholesome to a fault. She impersonates a teenage boy yet never gives him one good dirty thought.
    • 74 Metascore
    • 50 Owen Gleiberman
    If Take My Eyes explored how a woman could still feel for a man who abused her, it might have gripped us with its difficult truths. But the movie presents Pilar and Antonio's marriage as a stale, neurotic dead end.
    • 41 Metascore
    • 50 Owen Gleiberman
    Thorogood allegedly confessed on his deathbed (in 1993) that he killed Jones, and while the movie convinces us that this might have happened, it never truly reveals who Brian Jones was before he fell apart. His indulgence, and his demise, play out in a void.
    • 40 Metascore
    • 50 Owen Gleiberman
    Really, about all that unifies the movie is its inclination to turn little people's dreams into limply ''affectionate'' camp.
    • 47 Metascore
    • 50 Owen Gleiberman
    Lifting a concept isn't exactly foreign to the world of animation (what's "The Lion King" if not "Bambi" with manes?), but it isn't often a rip-off gets as blatant as The Wild, a flat-out regurgitation of "Madagascar."
    • 41 Metascore
    • 50 Owen Gleiberman
    You could dismiss this swankily shot Latin American trifle as an upscale soap opera, but that would be an insult to soap operas.
    • 47 Metascore
    • 50 Owen Gleiberman
    Though the filmmaker's feel for his Cuban heritage is bone-deep, it's a glazed and dolorous movie - a depressed epic.
    • 77 Metascore
    • 50 Owen Gleiberman
    The movie takes the form of a lackluster women's-prison picture.
    • 65 Metascore
    • 50 Owen Gleiberman
    As long as Norton plays Harlan as a modern-day Joe Buck, a kind of four-in-the-afternoon cowboy, we're drawn by his waltz of innocence and vagueness. But Down in the Valley turns out to be one of those films with a thick, gummy overlay of Western ''mythology.''
    • 61 Metascore
    • 50 Owen Gleiberman
    The trouble with Giuliani Time is that Keating, as a filmmaker, wants to give power to the people but in his every perception he takes it away from them.
    • 58 Metascore
    • 50 Owen Gleiberman
    Just about the only way to make sense of the film is to view its Christian family the way that the director, James Marsh, does -- with a contempt masquerading as social criticism. William Hurt, for one, deserves better.
    • 45 Metascore
    • 50 Owen Gleiberman
    The best bits are incidental: Vaughn's chats with Jon Favreau as his bartender buddy, which are delightful interludes of jostling ego, and Judy Davis, looking like Anna Wintour redesigned by Tim Burton as an undead marionette, laying down the law as Aniston's boss.
    • 45 Metascore
    • 50 Owen Gleiberman
    Bacon instinctively pushes Loverboy toward surreal domestic satire. It's fascinating to watch Sedgwick try to make Emily into a luminous wack job.
    • 52 Metascore
    • 50 Owen Gleiberman
    Takes a misguided swerve into the current downtown New York rock scene, so that it can spend more time preaching about the anarchy of the good old days than it does revealing them.
    • 80 Metascore
    • 50 Owen Gleiberman
    If you're going to get on the wavelength of Little Miss Sunshine, you've got to be able to enjoy a comedy in which the characters fit into hermetically cute, predetermined sitcom slots.
    • 71 Metascore
    • 50 Owen Gleiberman
    It's too bad that the film was directed by the Norwegian minimalist Bent Hamer (Kitchen Stories), who makes a fetish of building scenes around silence.
    • 52 Metascore
    • 50 Owen Gleiberman
    Parades itself as an ''honest'' message movie, a call for troubled kids to choose life over street nihilism, but the picture is so earnest that it leaves out the easy, old-school pleasure conjured by the last few years of Disney sports flicks (Invincible, Miracle, The Rookie).
    • 60 Metascore
    • 50 Owen Gleiberman
    For This Boy's Life to work as ominous domestic drama, it's essential that we see Dwight as a flesh-and-blood monster. De Niro, unfortunately, just seems to be reveling in the chance to play another viciously demented freak, like Cape Fear's Max Cady.
    • 72 Metascore
    • 50 Owen Gleiberman
    Inland Empire is so locked up in David Lynch's brain that it never burrows its way into ours.
    • 64 Metascore
    • 50 Owen Gleiberman
    Chabrol has fashioned a mystery that caves in on itself, but unfortunately, it caves in on the audience, too.
    • 54 Metascore
    • 50 Owen Gleiberman
    The new movie, for all its huffing and puffing, explores very little, even if some of it is sexy in a Howard Stern-meets-"9 1?2Weeks" way.
    • 73 Metascore
    • 50 Owen Gleiberman
    A thriller that wheezes along on bits and pieces of ''character.''
    • 54 Metascore
    • 50 Owen Gleiberman
    Higher Learning starts out as a liberal message movie, but it turns into a demagogic rabble-rouser, a shrewdly incendiary exploitation of these wayward days of rage.
    • 57 Metascore
    • 50 Owen Gleiberman
    The director has dressed up a classic tale in mesmerizing visual overkill without coming close to its dark heart. [13 Nov 1992, p. 56]
    • Entertainment Weekly
    • 53 Metascore
    • 50 Owen Gleiberman
    For all its technical bravado, The Hudsucker Proxy is an unsettling contradiction, a ''whimsical'' fable made by acerbic control freaks. It's a balloon that won't fly.
    • 45 Metascore
    • 50 Owen Gleiberman
    Bereft of any flesh-and-blood honesty, the last half of the movie plays like a ludicrous PBS version of "Mandingo."
    • 31 Metascore
    • 50 Owen Gleiberman
    it's a synthetic, rather drab movie, one that seems linked less to experience, or even to fantasy, than to other movies - "Big," of course, and also "E.T.," "Mask," and "Phenomenon."
    • 47 Metascore
    • 50 Owen Gleiberman
    This strenuously dark biographical Western plays more like a choppy, self-important miniseries.
    • 63 Metascore
    • 50 Owen Gleiberman
    Zoo
    You could wander into this poetic documentary willing to be sympathetic toward its subject -- men who have sex with horses -- and still find Zoo cryptic and borderline bogus.
    • 13 Metascore
    • 50 Owen Gleiberman
    A thriller primarily about the movement of Cindy Crawford's breasts beneath a succession of ever-smaller T-shirts.
    • 49 Metascore
    • 50 Owen Gleiberman
    The Quick and the Dead is too light to pack the dramatic punch of a true Western and too flat to pass as cheeky revisionism. It ends up in its own amiable, slowpoke limbo.
    • 61 Metascore
    • 50 Owen Gleiberman
    With its lightweight hero and its random spray of ''high-powered'' action, Broken Arrow is like an underpopulated version of The A-Team. It's not just John Woo who gets swallowed up by the impersonal mechanics of big-budget mayhem. It's the audience, which pays for a sleek, dark thriller and gets recycled pulp instead.
    • 67 Metascore
    • 50 Owen Gleiberman
    Trust, the cult-movie view turns precious and smug.
    • 56 Metascore
    • 50 Owen Gleiberman
    Demagogic shallowness has its appeal, and Falling Down could turn out to be the Network of the '90s. By the end, you may wish he'd just gone home and popped a couple of Excedrin instead.
    • 50 Metascore
    • 50 Owen Gleiberman
    Knightley's Elizabeth becomes a pirate captain this time. You know a franchise has run its course when it has a buccaneer heroine who looks as if she'd hate to get her face smudged.
    • 45 Metascore
    • 50 Owen Gleiberman
    All The Distinguished Gentleman has is Eddie Murphy doing his best to be the life of the party. By the end of the movie you wish he would just go to another party.
    • 49 Metascore
    • 50 Owen Gleiberman
    Far and Away looks like an epic, but it lacks flavor and texture. It's so predigested there's nothing left to chew on.
    • 61 Metascore
    • 50 Owen Gleiberman
    The strange thing about Kindergarten Cop is how quickly it abandons its own concept. No sooner has Arnold gotten into class than he's yanked back into the mechanics of the movie's generic thriller plot. Perhaps this wouldn't be as noticeable if there were a few more sparks between Schwarzenegger and the kids.
    • 52 Metascore
    • 50 Owen Gleiberman
    You miss the knockabout edge of "Bend It Like Beckham" -- though the ending, in its Pavlovian sports-flick way, pumps you up.
    • 45 Metascore
    • 50 Owen Gleiberman
    Mr. Brooks begins promisingly, but it grows steadily more preposterous as it goes along, becoming the first feel-good serial-killer movie.
    • 46 Metascore
    • 50 Owen Gleiberman
    It has been put together with just enough efficiency to qualify as an oddball labor of love.
    • 60 Metascore
    • 50 Owen Gleiberman
    Writer-director Sandra Goldbacher, a former BBC documentarian, fills the film with arid pauses, creating a claustrophobic study in ''repression.''
    • 28 Metascore
    • 50 Owen Gleiberman
    Ralph Bakshi's first feature in nearly a decade would like to be a down-and-dirty "Who Framed Roger Rabbit," but Bakshi isn't up to the task.
    • 60 Metascore
    • 50 Owen Gleiberman
    You'd better deliver the goods. And Them, despite some moody imagery out of the "Blair Witch" school, never does.
    • 73 Metascore
    • 50 Owen Gleiberman
    One of those terminally annoying, depressive-yet-coy Sundance faves in which the tale of a mopey teen misfit unfolds behind a hard candy shell of irony.
    • 77 Metascore
    • 50 Owen Gleiberman
    Unfortunately, most of the two-hour documentary is devoted to annotating what the Nazis stole for both their state and personal collections. The movie doesn't dramatize this crime -- it catalogs it. With deadening monotony.
    • 51 Metascore
    • 50 Owen Gleiberman
    Far too cloyingly pleased with its own humanity.
    • 44 Metascore
    • 50 Owen Gleiberman
    Rails & Ties is like one bad TV movie that slammed into another.
    • 51 Metascore
    • 50 Owen Gleiberman
    The Golden Compass is a snowbound mystical-whizbang kiddie ride that hovers somewhere between the loopy and the lugubrious.
    • 42 Metascore
    • 50 Owen Gleiberman
    The first thing to say about The Bucket List is that Rob Reiner is the rare director who can take all the wonder out of one of the seven wonders of the world.
    • 35 Metascore
    • 50 Owen Gleiberman
    Liman, for all his craft, doesn't have enough FUN with the premise.
    • 57 Metascore
    • 50 Owen Gleiberman
    Each of these improv farceurs wins a few laughs. But not enough.
    • 67 Metascore
    • 50 Owen Gleiberman
    XXY
    It's set at a beach house, but we see only gray skies, and though Efron has a wary and cutting intelligence (it matches that of the fine actor Ricardo Darin, who plays her father), the effect is tepid and damp.
    • 69 Metascore
    • 50 Owen Gleiberman
    The Go-Getter travels, but it doesn't go anywhere.
    • 58 Metascore
    • 50 Owen Gleiberman
    Val Kilmer, as a polite horn-rimmed sociopath with a heart of gold, keeps showing up to drop Nietzschean pensées.
    • 31 Metascore
    • 50 Owen Gleiberman
    After an hour of inert exposition, a race through Shanghai gooses the movie alive. Then it plunges back into torpor.
    • 30 Metascore
    • 50 Owen Gleiberman
    As the vamps, Eva Mendes and Scarlett Johansson might be posing for a fashion spread with just one note to play -- gorgeous high-bitch mockery.
    • 44 Metascore
    • 50 Owen Gleiberman
    It's less a tale of religious rebirth than a faith-based Hallmark card.
    • 27 Metascore
    • 50 Owen Gleiberman
    The movie is a feminist lesson instead of what it should have been (and once was): a tough, synthetic, high-gloss entertainment that wears its heart on its lacquered fingernails.
    • 26 Metascore
    • 50 Owen Gleiberman
    The movie is short on wisdom, but it might have gotten by if it had had better filth.
    • 57 Metascore
    • 50 Owen Gleiberman
    The Secret Life of Bees is a lesson -- or, rather, a whole series of them -- we no longer need to learn. Of course, it's also a divine-sisterhood-defeats-all chick flick, and on that score there's no denying that its clichés are rousingly up to date.
    • 63 Metascore
    • 50 Owen Gleiberman
    The trouble with Changeling is that it plays less like reality than like a bare-bones, moralistic rehash of other, better movies, such as "L.A. Confidential" or "Frances."
    • 82 Metascore
    • 50 Owen Gleiberman
    If random arty blood thrills are your cup of fear, perhaps you'll enjoy Let the Right One In, a Swedish head-scratcher that has a few creepy images but very little holding them together.
    • 49 Metascore
    • 50 Owen Gleiberman
    Soul Men could have done with less amped-up abrasiveness and more soft-shoe charm.
    • 58 Metascore
    • 50 Owen Gleiberman
    The director, Paul Schrader, tries for cleansing audacity, but ends up too close to farce.
    • 79 Metascore
    • 50 Owen Gleiberman
    The stab at sublimity-by-proxy doesn't take.
    • 24 Metascore
    • 50 Owen Gleiberman
    Bride Wars pretends to be a satire of wedding mania, but since there's virtually nothing else to the movie, the satire comes depressingly close to endorsement.
    • 50 Metascore
    • 50 Owen Gleiberman
    It's a tale soggy with the kind of race/class lessons that Madea, the director-star's battle-ax alter ego, doles out far more handily (and entertainingly) in a single church-lady-from-hell zinger.
    • 25 Metascore
    • 50 Owen Gleiberman
    Obsessed has little plausibility, but at moments it's an entertaining bad movie, and the performers are vivid.
    • 72 Metascore
    • 50 Owen Gleiberman
    12
    Has none of the crisp passion or suspense of the 1957 Sidney Lumet version; it's bloated, heavy-handed, and lugubrious.
    • 35 Metascore
    • 50 Owen Gleiberman
    He squeezes a bit of suspenseful juice out of the old plot, and Douglas makes smarm a chewy pleasure, but this is a noir in search of a hero we can root for because we actually buy what he’s doing.
    • 64 Metascore
    • 50 Owen Gleiberman
    The upshot is that those who appear to be guilty may not be -- a muddled message for our time.
    • 32 Metascore
    • 50 Owen Gleiberman
    Land of the Lost has stray amusing tidbits, but overall it leaves you feeling splattered.
    • 51 Metascore
    • 50 Owen Gleiberman
    Moretti makes this ''study'' in despair a naggingly neutral, at times borderline coy experience.
    • 57 Metascore
    • 50 Owen Gleiberman
    Daybreakers turns?into a ponderous apocalyptic chase film -- it's like "Children of Men" with exploding-plasma shock effects.
    • 33 Metascore
    • 50 Owen Gleiberman
    The trouble with the movie, apart from its rather monotonous dourness of tone, is that everyone in the family, especially the reformed-delinquent high school son (Penn Badgley), comes off as tougher, smarter, and quicker on the draw than the stepfather who's supposed to be outfoxing them.
    • 44 Metascore
    • 50 Owen Gleiberman
    Daniels plays Arlen with a kind of cuddly crankiness; he makes him a jerk who just needs a hug.
    • 43 Metascore
    • 50 Owen Gleiberman
    The whole movie is pat -- very pleased with itself for being so up front about the ways of a 21st-century man-whore.
    • 53 Metascore
    • 50 Owen Gleiberman
    In the film's rather humdrum 3-D, the place doesn't dazzle — it droops.
    • 53 Metascore
    • 50 Owen Gleiberman
    A feel-good movie that never stops feeling good. The film is based on a true story (it was adapted from a nonfiction best-seller by Michael Lewis), but you never feel that Hancock has honestly captured what's true about it.
    • 34 Metascore
    • 50 Owen Gleiberman
    Too often, The Fourth Kind makes the paranormal look disappointingly normal.
    • 49 Metascore
    • 50 Owen Gleiberman
    The trouble is, it's all too exhibitionistic to ring true. The impotent folly of Antichrist is that von Trier has made it his mission to shock the bourgeoisie in an era when they can no longer be shocked.
    • 49 Metascore
    • 50 Owen Gleiberman
    The numbers, while lively, remain cluttered and stage-bound. The women, however, are spirited and sexy.
    • 48 Metascore
    • 50 Owen Gleiberman
    It's all very sincere, but watching a dweebish depressive learn that Life Is Good is a lesson of diminishing returns.
    • 42 Metascore
    • 50 Owen Gleiberman
    A ''fun trash'' movie that's more trash than fun.
    • 55 Metascore
    • 50 Owen Gleiberman
    Here's what I can say for sure about the humanoid attackers in the new version of The Crazies: They're not very interesting.
    • 22 Metascore
    • 50 Owen Gleiberman
    In The Bounty Hunter, the couple that foils a bunch of tiresome grade-C thriller goons together stays together. Whether or not that's a recipe for love, it's certainly not a formula for romantic-comedy magic.
    • 81 Metascore
    • 50 Owen Gleiberman
    Regrettably, the film's story is so busy yet flat that the effect isn't magical -- it's more like watching the tale of some very enchanted wallpaper.
    • 46 Metascore
    • 50 Owen Gleiberman
    If you're hungry to see a romantic comedy about a genetically and culturally imbalanced geek-meets-babe relationship that makes the one in Knocked Up look like the quintessence of plausible human mating, then by all means subject yourself to the one-joke sub–Judd Apatow snark-athon that is She's Out of My League.
    • 73 Metascore
    • 50 Owen Gleiberman
    Catherine Breillat, the French director of "Fat Girl", blends victim feminism with the threat of slasher violence in this arid ''deconstruction'' of Bluebeard, the wife killer of legend.
    • 48 Metascore
    • 50 Owen Gleiberman
    The film is Moore's story, and she acts the hell out of one sexy scene, but most of Chloe is plodding and drab.
    • 20 Metascore
    • 50 Owen Gleiberman
    The movie is "Star Wars" with martial arts, plus a touch of "The Last Emperor." Technically, it's not badly done; I enjoyed the physical clash of elements, the water balls rising like sculpture in the air.
    • 61 Metascore
    • 50 Owen Gleiberman
    The role requires Clooney to dial down his charm to nearly zero, and frankly, he looks twitchy and uncomfortable without it.
    • 64 Metascore
    • 50 Owen Gleiberman
    This rotely cheeky, Anglo-plastic adultery comedy is set in the golden-green English countryside, and it makes a few quirky nods toward artistry, but it's really just a glib concoction.
    • 60 Metascore
    • 50 Owen Gleiberman
    Mostly an epic rehash of the tale Larsson has already told, and that makes it, at two hours and 28 minutes, the first movie in the series that never catches fire.
    • 37 Metascore
    • 50 Owen Gleiberman
    The Tourist isn't a debacle, but it's a caper that's fatally low on carbonation.
    • 28 Metascore
    • 50 Owen Gleiberman
    The best thing about it is Claire Foy's performance as the seething, caged is-she-a-witch?. Foy, like a Brit Kristen Stewart, has an entrancing sparkle of disdain.
    • 49 Metascore
    • 50 Owen Gleiberman
    As it is, The Mechanic is ham-fisted pulp, like Robert Rodriguez's "Machete" taking itself seriously.
    • 63 Metascore
    • 50 Owen Gleiberman
    Rio
    The soundtrack, overseen by Sergio Mendes, has a few lively bossa nova moments, but not nearly enough.
    • 55 Metascore
    • 50 Owen Gleiberman
    The movie is stiff-jointed and dull.
    • 51 Metascore
    • 50 Owen Gleiberman
    The role of a former star of the "golden age" of porn sounds perfect for Kim Cattrall, and she handles it nicely - at least, in the rare moments when this indie comedy isn't terminally contrived.
    • 45 Metascore
    • 50 Owen Gleiberman
    As the checkout girl everyone's got a crush on, Natalie Portman makes a winsome return to her "Garden State" gawkiness.
    • 45 Metascore
    • 50 Owen Gleiberman
    On Stranger Tides isn't nearly strange enough. Its one real act of piracy is stealing away your excitement.
    • 76 Metascore
    • 50 Owen Gleiberman
    The film is so self-conscious it seems to be dictating your every reaction.
    • 47 Metascore
    • 50 Owen Gleiberman
    We're just watching a film try to pass off misanthropic blunt-wittedness as "edge."
    • 25 Metascore
    • 50 Owen Gleiberman
    Director John Singleton offers bits of suspense, but Abduction is less a movie than a piece of engineering, a glumly ludicrous cat-and-mouse blowout designed to win Lautner male fans along with his girl demo.
    • 65 Metascore
    • 50 Owen Gleiberman
    Puss in Boots is beautifully animated (with 3-D that adds nothing), but the film is so mindlessly busy that it seems to be trying to distract you from the likable, one-note feline swashbuckler at its center.
    • 56 Metascore
    • 50 Owen Gleiberman
    To the audience, this stuff seems like awfully old news. We're supposed to be witnessing the birth of a great journalist, but Hunter S. Thompson, as his career went on, got swallowed up by his mystique as an outlaw of excess. In The Rum Diary, that myth becomes an excuse for a movie to go slumming.
    • 74 Metascore
    • 50 Owen Gleiberman
    The film has the same moral design as "Dead Man Walking," but since it never gets inside the darkness of the killers' minds, it's really just a rambling episode of "A Current Affair."
    • 68 Metascore
    • 50 Owen Gleiberman
    Even a filmmaker as dazzling as Steven Spielberg has to create characters who lure us into their point of view, and the trouble with Tintin is that we're always on the outside, looking in. What all that motion can't capture is our hearts.
    • 67 Metascore
    • 50 Owen Gleiberman
    It's all very sub-Tarantino showy and empty - at least, until the head-scratching climax, which tries to be "Eyes Wide Shut," "The Wicker Man," and "The Twilight Zone" all at once, but only makes you wish that you were watching one of them instead.
    • 53 Metascore
    • 50 Owen Gleiberman
    Is it possible for an actor to go through the motions even as he's going over the top? In Being Flynn, Robert De Niro does phoned-in scenery chewing.
    • 54 Metascore
    • 50 Owen Gleiberman
    One of Dafoe's deadbeat friends observes, ''The world's been ending ever since it started, man,'' and you may think the same thing about this movie.
    • 41 Metascore
    • 50 Owen Gleiberman
    Lawrence Kasdan's comedy strikes a note of rib-nudging blah coyness that feels very 1987.
    • 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.
    • 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.
    • 56 Metascore
    • 50 Owen Gleiberman
    Bobcat Goldthwait's new movie is a burlesque that turns into a harangue that turns into a rampage.
    • 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.
    • 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?
    • 67 Metascore
    • 50 Owen Gleiberman
    Benoît Jacquot's film is shackled to a blah bourgeois leftism.
    • 57 Metascore
    • 50 Owen Gleiberman
    The shots of urban traffic jams have more spark than the story, which skips from a pregnancy to the filming of a musical to murder - without convincing us of any of it.
    • 43 Metascore
    • 50 Owen Gleiberman
    This one is somberly kinetic and joyless.
    • 58 Metascore
    • 50 Owen Gleiberman
    The film comes off as an elaborately didactic and overheated lecture.
    • 50 Metascore
    • 50 Owen Gleiberman
    The trouble with Guillaume Canet's French gloss on "The Big Chill" is that it has no underlying chill.
    • 46 Metascore
    • 50 Owen Gleiberman
    The Comedy pretends to be a satire of entitlement, but it's made in a style so indulgent that the whole film feels entitled in the extreme.
    • 73 Metascore
    • 50 Owen Gleiberman
    Cotillard, with stringy long hair and a coal fire of severity in her eyes, has what it takes to play a woman who feels that she's lost everything. But she's forced to flail and mood-swing from scene to scene. In an insult to the disabled, there is never much to her but her hellacious injury.
    • 52 Metascore
    • 50 Owen Gleiberman
    There isn't much to the characters in this morose thriller.
    • 36 Metascore
    • 50 Owen Gleiberman
    In the occasionally funny but mostly facile '80s-style culture-clash comedy Parental Guidance, Billy Crystal, who now resembles a very cute puffer fish, plays Artie Decker.
    • 31 Metascore
    • 50 Owen Gleiberman
    A sign of how desperate the series' producers have become is that the big twist here is that Leatherface, the slobby butcher-boy demon in his mask of human skin, is now...the good guy. (That's a ''jump the chainsaw'' concept if ever there was one.)
    • 40 Metascore
    • 50 Owen Gleiberman
    Brolin and Gosling are both supposed to be playing World War II veterans who bring their knowledge of battle into the tough turf of the streets, but that's just a concept that the sketchy, half-baked script tosses out there.
    • 41 Metascore
    • 50 Owen Gleiberman
    The countdown-to-Armageddon structure generates almost no tension, but Olympus Has Fallen does have lots of squalidly bloody hand-to-hand action, all of which is so pulpy and standardthat the film actually makes you grateful for the presence of Gerard Butler, gnashing his teeth in the Bruce Willis role.
    • 62 Metascore
    • 50 Owen Gleiberman
    By the end, every child in the audience will want his or her own monster-minion toy. Adults will just regret the way that Despicable Me 2 betrays the original film’s devotion to bad-guy gaiety.
    • 42 Metascore
    • 50 Owen Gleiberman
    The film has flashes of psychedelic visual energy, but its story is limp.
    • 34 Metascore
    • 50 Owen Gleiberman
    The trouble with this stunted sequel is that the doughy, blobby-hatted Smurfs are mostly window dressing for an abrasive slapstick bash built around a tiresome kidnap plot, pancake-flat gags about Facebook and ''Smurf-holm Syndrome,'' and Neil Patrick Harris mugging his way through the role of a daddy with daddy issues who once again helps out our heroes.
    • 53 Metascore
    • 50 Owen Gleiberman
    Passion turns into vintage De Palma — which is to say, the film seems almost engineered to get you giggling at the extravagance of its absurdity. Any enthusiasm in the viewer is bound to be a shadow of the film's passion for itself.
    • 30 Metascore
    • 50 Owen Gleiberman
    If you're not at the bull's-eye center of the target audience, a movie like this one can suck the life out of you.
    • 48 Metascore
    • 50 Owen Gleiberman
    The plot is more confusing than clever, and the only actor who seems to be having any fun is Silver, who's at his best throwing masochistic hissy fits at his younger, not-quite-so-evil self.
    • 52 Metascore
    • 42 Owen Gleiberman
    A lurid hodgepodge of the ''subversive'' and the secondhand, the movie lacks the primal pop pleasures of Lynch's best work.
    • 30 Metascore
    • 42 Owen Gleiberman
    The dialogue is chintzy and rhythmless.
    • 45 Metascore
    • 42 Owen Gleiberman
    There are many things wrong with Novocaine, but the film's most gnawing pain is its clodhopper farfetchedness.
    • 64 Metascore
    • 42 Owen Gleiberman
    A turgid muddle of romance, espionage, and geek valor, despite intimations that it might have turned into ''A Reasonably Dapper-Looking Mind.''
    • 45 Metascore
    • 42 Owen Gleiberman
    After too many ''Full Monty''s, it has come to look like nothing so much as a coy ritual of emasculation.
    • 36 Metascore
    • 42 Owen Gleiberman
    Hartley is trapped between sincerity and mock sincerity, and that all but dooms a filmmaker to slipping through the cracks.
    • 44 Metascore
    • 42 Owen Gleiberman
    An inert screwball cartoon, a celebration of monogamy as fashion statement.
    • 39 Metascore
    • 42 Owen Gleiberman
    A cumbersome dud, grows draggier with each new revelation.
    • 63 Metascore
    • 42 Owen Gleiberman
    Achieves the near-impossible: It turns the Marquis de Sade into a dullard.
    • 56 Metascore
    • 42 Owen Gleiberman
    An embarrassment--a fairy-tale showbiz satire that seems to defang itself, scene by scene.
    • 25 Metascore
    • 42 Owen Gleiberman
    It's hardly much of a thrill to see The One recycle, on a lower budget, the slo-mo bullet dodges from "The Matrix," along with unspectacular variations on several other of that film's time-bending demolition-ballet effects.
    • 70 Metascore
    • 42 Owen Gleiberman
    Little more than a plodding celebration of global television trumping everything in its midst.
    • 65 Metascore
    • 42 Owen Gleiberman
    More and more independent filmmakers seem to be cobbling together characters and scenes that have surface hook and flash without organic emotional logic.
    • 54 Metascore
    • 42 Owen Gleiberman
    A sentimental epic that forgets to include the sentiment
    • 54 Metascore
    • 42 Owen Gleiberman
    There's precious little in Luc Besson's solemnly inflated, battle-weary historical epic.
    • 75 Metascore
    • 42 Owen Gleiberman
    It sounds churlish to argue that a movie can have too much integrity for its own good, but that's exactly the problem with La Ciénaga.
    • 36 Metascore
    • 42 Owen Gleiberman
    Be wary of any movie in which the hero is monosyllabic and a stutterer at the same time.
    • 33 Metascore
    • 42 Owen Gleiberman
    Aspires to blasphemy but achieves only banality.
    • 54 Metascore
    • 42 Owen Gleiberman
    Seems populated yet uninhabited; the only real star is the gloom.
    • 16 Metascore
    • 42 Owen Gleiberman
    Presents undercover law enforcement less as a profession than as an accessory, an excuse to pout and glower chicly, to stand around in nightclubs acting like a sullen version of the Last American Rebel.
    • 47 Metascore
    • 42 Owen Gleiberman
    Like Mike has the synthetically wrapped pseudo-charm of a perfunctory ''Flubber'' sequel.
    • 26 Metascore
    • 42 Owen Gleiberman
    Soft-core trash with a tent-show hook.
    • 26 Metascore
    • 42 Owen Gleiberman
    One of those desultory F/X and no script potboilers that seems to restart itself with every new scene.
    • 43 Metascore
    • 42 Owen Gleiberman
    A send-up of rap personality in which no one actually has a personality. The joke, alas, is on the movie.
    • 60 Metascore
    • 42 Owen Gleiberman
    Quite honestly, you could nap for an hour and not miss a thing, but when the crew finally makes it to the glowing piles of booty at Treasure Planet's core, the film unleashes some pleasing visual fireworks. That's where it should have started, not ended.
    • 36 Metascore
    • 42 Owen Gleiberman
    Raging ego aside, the penny-ante hucksterism of his I'm-going-on-dates-to-get-famous-making-a-movie-about-dates approach is too cloying and opportunistic to bear.
    • 36 Metascore
    • 42 Owen Gleiberman
    The image of this kitchen-magician dream robot comes at us in little jolts and spasms that have the zappy, self-contained rhythm of a fast-food tie-in commercial.
    • 36 Metascore
    • 42 Owen Gleiberman
    Keeps teasing you with intimations of the libidinous animal within.
    • 37 Metascore
    • 42 Owen Gleiberman
    It's not just that Tony Soprano is richer, darker, cooler, and scarier. The dude gets more laughs.
    • 68 Metascore
    • 42 Owen Gleiberman
    Further sad evidence that Tom Tykwer, director of the resonant and sense-spinning ''Run Lola Run,'' has turned out to be a one-trick pony -- a maker of softheaded metaphysical claptrap. It's enough to make you want to see him run again.
    • 70 Metascore
    • 42 Owen Gleiberman
    There's no denying that Washington can play a rococo villain with flip ebullience, but I fervently wish he were doing it in a movie that paid more than lip service to the real world.
    • 41 Metascore
    • 42 Owen Gleiberman
    It's like a series of cliches exploding in your face.
    • 63 Metascore
    • 42 Owen Gleiberman
    The trouble with the movie is that there's nothing to Muriel but her false dreams: We never quite glimpse the woman they're hiding.
    • 65 Metascore
    • 42 Owen Gleiberman
    A movie overtly designed to win attention (and not to do much else).
    • 51 Metascore
    • 42 Owen Gleiberman
    An Australian crime caper that's one part ''Sexy Beast,'' one part ''The Full Monty,'' and three parts very flat soda.
    • 60 Metascore
    • 42 Owen Gleiberman
    Rigid, airless, and browbeatingly repetitive, Das Experiment is an overly didactic piece of thesis hectoring; it's like ''Lord of the Flies'' set in a Skinner box.
    • 28 Metascore
    • 42 Owen Gleiberman
    The dumbing down of low-IQ sentimentality.
    • 59 Metascore
    • 42 Owen Gleiberman
    This remains the one and only fusion of ''Deliverance'' and ''Hansel and Gretel'' that I ever hope to see.
    • 50 Metascore
    • 42 Owen Gleiberman
    The title translates, roughly, as ''This & That,'' a confectionary shrug that pretty well sums up the blasé inconsequentiality of it all.
    • 46 Metascore
    • 42 Owen Gleiberman
    For Woody, it's looking more and more like the end of his days of whine and neurosis.
    • 42 Metascore
    • 42 Owen Gleiberman
    Daredevil is the sort of half-assed, visually lackadaisical potboiler that makes you rue the day that comic-book franchises ever took over Hollywood.
    • 30 Metascore
    • 42 Owen Gleiberman
    Supplies stretches of actual skating footage by pros doubling for the stars. It's in these moments, freed from the earthbound pull of its market-tested components, that the movie briefly relaxes into the sheer thrilling audacity of flying into the air propelled by a board on wheels.
    • 60 Metascore
    • 42 Owen Gleiberman
    The two characters barely even have a relationship; they're a union of demographics--the "urban" market meets the slapstick-action market.
    • 49 Metascore
    • 42 Owen Gleiberman
    Turns into a grab-bag freak show as desperate as it is arbitrary.
    • 36 Metascore
    • 42 Owen Gleiberman
    The problem with the movie isn't that it sells out Rocky and Bullwinkle -- it's that it can't keep up with them.
    • 20 Metascore
    • 42 Owen Gleiberman
    Populated by ersatz versions of stars who, in this case, are fairly vanilla to begin with.
    • 30 Metascore
    • 42 Owen Gleiberman
    The movie is based on a 1999 series of comic books by Alan Moore and Kevin O'Neill, but the original tone of deadpan historical audacity has been replaced by a kind of wax-museum literalness.
    • 47 Metascore
    • 42 Owen Gleiberman
    A limp and sodden downer.
    • 57 Metascore
    • 42 Owen Gleiberman
    Don Coscarelli, writer-director of the logy, fatuous Bubba Ho-Tep, is trying to will a cult movie into existence -- which, of course, never works.
    • 52 Metascore
    • 42 Owen Gleiberman
    Altogether too faithful to its source. The makers of this ponderously middlebrow Canadian production have re-created the Gospel of John in its pristine entirety -- word for word, miracle for miracle.
    • 33 Metascore
    • 42 Owen Gleiberman
    54
    There's a glimmer of what the film might have been, though, in the performance of Mike Myers, who plays Studio co-owner Steve Rubell, with his sweaty thinning hair and look-at-me-I-got-class Lacoste shirts, as a vengeful gargoyle presiding over a kingdom of beauty he can rule but never join.
    • 45 Metascore
    • 42 Owen Gleiberman
    If any actor could reveal the squirmy soul of a war criminal, it's Caine, so it feels like a cheat when The Statement gives him nothing to portray but self-condemnation.
    • 30 Metascore
    • 42 Owen Gleiberman
    Kutcher is the wrong actor to anchor a psychological freak-out.
    • 52 Metascore
    • 42 Owen Gleiberman
    In the history of rock-star indulgence on film, I would rank it somewhere between Bob Dylan's epic carnival of pretension ''Renaldo & Clara'' and the overblown messianic doldrums of 1982's ''Pink Floyd The Wall.''
    • 69 Metascore
    • 42 Owen Gleiberman
    Too chicly depressive -- and, for the most part, too dull -- to bear.
    • 51 Metascore
    • 42 Owen Gleiberman
    So riddled with cultural stereotypes, woe-is-me neurotic mopiness, and glib therapeutic compassion that by the end all it leaves you with is a waxy buildup of falseness.
    • 36 Metascore
    • 42 Owen Gleiberman
    The film suggests Titanic in a giant wading pool.
    • 27 Metascore
    • 42 Owen Gleiberman
    As a satire of new-style collegiate types, this MTV production actually evinces a few germs of rancid wit.
    • 57 Metascore
    • 42 Owen Gleiberman
    Scored to a disarmingly quaint array of fiddle-and-banjo tunes, The Newton Boys has so little in the way of blood or rancor that before long, you begin to notice that there's no real drama in it, either.
    • 45 Metascore
    • 42 Owen Gleiberman
    The award for the most annoying character to appear in a movie so far this year turns out to be a tie: It goes to both of the oh-so-swankly tormented romantic mischief makers of Love Me if You Dare.
    • 27 Metascore
    • 42 Owen Gleiberman
    Cloddish, unfunny dud.
    • 36 Metascore
    • 42 Owen Gleiberman
    Her setups here are so witless and pedestrian that there's no imagination to the crude slapstick punchlines; we're just watching a bland jester pantomime sensory overload.
    • 64 Metascore
    • 42 Owen Gleiberman
    Sokurov's new companion piece (to "Mother and Son"), has the tedium without the trance.
    • 43 Metascore
    • 42 Owen Gleiberman
    Just when you thought it was safe to go to the movies without sitting through another imitation of early Quentin Tarantino, along comes Suicide Kings.
    • 30 Metascore
    • 42 Owen Gleiberman
    The new movie is a dusty piñata stuffed with omens and not much more.
    • 33 Metascore
    • 42 Owen Gleiberman
    Hilary Duff makes me long for the comparatively Dostoyevskian depths of Sandra Dee.
    • 73 Metascore
    • 42 Owen Gleiberman
    Les Liaisons Dangereuses is such an elaborate and satisfying structure of deceit and salaciousness that every attempt I have seen to adapt it on film -- "Dangerous Liaisons," "Cruel Intentions," even the trashy 1959 Roger Vadim version -- has resulted in an entertainment of agreeable nasty elegance. Until now.
    • 50 Metascore
    • 42 Owen Gleiberman
    When Kidman slithers into a bathtub with her young ''husband,'' the scene, in its soft-pedaled way, is the definition of exploitation: It appears to have been cooked up for no other purpose than to conjure creepy child-porn overtones.
    • 39 Metascore
    • 42 Owen Gleiberman
    An exhausted epic, one that Stone has directed with an almost startling lack of personality or vision.
    • 15 Metascore
    • 42 Owen Gleiberman
    A flat, heebie jeebies thriller.
    • 70 Metascore
    • 42 Owen Gleiberman
    Traffics in the coyly blasphemous, aren't-we-dysfunctional family-disaster chic that has become the single most annoying trend in independent filmmaking.
    • 49 Metascore
    • 42 Owen Gleiberman
    Really, who needs a bad guy who's this guilty about being bad?
    • 33 Metascore
    • 42 Owen Gleiberman
    Extraordinarily faithful to the spirit of that creaky, derivative, fly-infested, don't-go-in-the-attic boofest.
    • 35 Metascore
    • 42 Owen Gleiberman
    Ma Mère, while less prudish than Catherine Breillat's dour deconstructions of sex, is also less competent. It winds up making incest look absurdly swank.
    • 42 Metascore
    • 42 Owen Gleiberman
    The latest reshuffling of "Chainsaw" tropes.
    • 71 Metascore
    • 42 Owen Gleiberman
    In Land of the Dead there are virtually no good parts. The movie is listless and uninspired.
    • 60 Metascore
    • 42 Owen Gleiberman
    If any character steals Bill & Ted's Bogus Journey, it's the Grim Reaper, who, as played by William Sadler, keeps smirking with pleasure at the chance to loosen up.
    • 46 Metascore
    • 42 Owen Gleiberman
    This is a movie of fake conflict, fake heart, even fake doggy love.
    • 35 Metascore
    • 42 Owen Gleiberman
    Stealth, a dregs-of-summer knockoff, is too ponderous and inept to serve a comparable function now, yet the film's lack of thrust may be related to an absence of conviction about its own war-is-a-videogame clichés.
    • 45 Metascore
    • 42 Owen Gleiberman
    Technically, Madonna's singing is beautiful -- elegant, silky, refined. Yet there's no fire, no twinkle of ambitious joy, to her performance. Her face is fixed, almost tranquilized -- a porcelain mask.
    • 56 Metascore
    • 42 Owen Gleiberman
    Foster, working from a patchy, meandering script by W.D. Richter, produces scene after scene of rudderless banter. The movie is all asides, all nattering; the actors seem lost in their busy, fractious shticks.
    • 47 Metascore
    • 42 Owen Gleiberman
    Yet despite its promising pedigree, Dangerous Minds has a slick, syrupy fraudulence -- it's like an Afterschool Special made for MTV.
    • 61 Metascore
    • 42 Owen Gleiberman
    The film has barely started, and already we can tell what we're in for -- two hours of metaphysical drift.
    • 59 Metascore
    • 42 Owen Gleiberman
    Jordan lets slip virtually every rudiment of drama. He never deigns to develop his characters, he coats the movie in a wet blanket of whimsy, and he lets pop songs do his work for him more lavishly than Cameron Crowe did in "Elizabethtown."
    • 59 Metascore
    • 42 Owen Gleiberman
    Dramatically, though, the film is torpid.
    • 53 Metascore
    • 42 Owen Gleiberman
    The movie isn't racist; it's just lame. If Brooks truly cared about Muslims or how their funny bones worked, Looking for Comedy might have had some zing, but all his character is interested in is the 500-page report he has to deliver - a homework assignment from hell.
    • 25 Metascore
    • 42 Owen Gleiberman
    I'm happy to report, though, that even a dud like Spy Hard can't completely douse the stumbling Zen charm of Leslie Nielsen, whose genius is that he never quite sheds the illusion that he isn't in on the joke.
    • 57 Metascore
    • 42 Owen Gleiberman
    Garry Marshall takes over the movie (no mystery: his son, Scott, directed it), and Keeping Up With the Steins turns into a recipe to forget: chopped liver with ''heart.''
    • 43 Metascore
    • 42 Owen Gleiberman
    There's one moment that achieves the camp shiver of the original, when Damien's nanny hangs herself at his birthday party (''Damien, it's all for you!'').
    • 73 Metascore
    • 42 Owen Gleiberman
    In A Scanner Darkly, we're watching other people freak out, but the film is maddening to sit through because their freak-outs never become ours.
    • 50 Metascore
    • 42 Owen Gleiberman
    It's "Bewitched" meets "Fatal Attraction," with one funny bedroom scene, but it was a miscalculation to make Thurman the antagonist.
    • 61 Metascore
    • 42 Owen Gleiberman
    French art thriller 13 Tzameti has a literal hair-trigger premise, yet it's so lacking in human dimensions that it creates virtually no suspense.
    • 27 Metascore
    • 42 Owen Gleiberman
    In this American remake of the spooky, more-atmospheric-than-coherent 2005 J-horror thriller, the ghosts blink and crackle into existence with an electromagnetic sputter, but really, they're not so different from the gauzy, see-through spirits of yesteryear.
    • 28 Metascore
    • 42 Owen Gleiberman
    In this year's lump of coal, Matthew Broderick is the control freak who lives for toasty yuletide cheer, and Danny DeVito is the vulgar pest who wants his holiday lights seen from space. The dueling-neighbor crankfest is blah.
    • 52 Metascore
    • 42 Owen Gleiberman
    The Nativity Story is a film of tame picture-book sincerity, but that's not the same thing as devotion. The movie is too tepid to feel, or see, the light.
    • 36 Metascore
    • 42 Owen Gleiberman
    The movie, with the exception of that lone squirmy surgery scene, is "Hostel" without sadism, thrills, or funky severed-limb F/X. It quickly turns into a very dull escape thriller.
    • 28 Metascore
    • 42 Owen Gleiberman
    A remake of the 1986 suspense ''classic,'' is as processed and hoot-worthy as the original.
    • 35 Metascore
    • 42 Owen Gleiberman
    So much flatter than it was on the comic-book page.
    • 31 Metascore
    • 42 Owen Gleiberman
    Graham makes the coming-out dithering bearable, but not before she has jumped through hoops of contrivance.
    • 53 Metascore
    • 42 Owen Gleiberman
    The ultimate crime of this paranoid enemy-of-the-state pulp, directed with more style than brains by Antoine Fuqua (Training Day), is how dull it is.
    • 44 Metascore
    • 42 Owen Gleiberman
    The film's chief novelty turns out to be its drab ''literary'' approach to horror.
    • 43 Metascore
    • 42 Owen Gleiberman
    Cronenberg directs this doomed romance in the same flat, claustrophobic, night-of-the-zombies style he employed in ''Naked Lunch''; as a dramatist, he's still stuck in Interzone.
    • 51 Metascore
    • 42 Owen Gleiberman
    With Poetic Justice, John Singleton has (at least temporarily) lost his way, but he may have found an actor [Shakur] who can help lead him back.
    • 62 Metascore
    • 42 Owen Gleiberman
    The movie, a piece of luridly baroque metaphysical trash, is about a Vietnam veteran who keeps getting jolted by demonic visions.
    • 61 Metascore
    • 42 Owen Gleiberman
    A stunt masquerading as a statement.
    • 52 Metascore
    • 42 Owen Gleiberman
    The faux espionage plot, with its winks at terrorism, is really just a convoluted plea for the relevance of precious indie artistes (i.e., Hal Hartley).
    • 44 Metascore
    • 42 Owen Gleiberman
    Feels like an attempt to rebottle the postmodern fizz of Wes Anderson's "Bottle Rocket." I wish instead they'd put a stopper in it.
    • 64 Metascore
    • 42 Owen Gleiberman
    Has the taint of exploitation.
    • 55 Metascore
    • 42 Owen Gleiberman
    It's a tale that reduces angst, not to mention love, to a generational tic.
    • 25 Metascore
    • 42 Owen Gleiberman
    The creepy-faced robot twin babies are funny (for a while); the rest of the film is not. It's like "Meet the Parents" with Dr. Phil as the officiant from hell.
    • 24 Metascore
    • 42 Owen Gleiberman
    Roland Joffé brings an artful video-grunge look, and not much else, to this "Saw" clone.
    • 46 Metascore
    • 42 Owen Gleiberman
    For a light comedy, The Nanny Diaries turns out to have an off-putting theme. It glorifies the romance of slumming.
    • 56 Metascore
    • 42 Owen Gleiberman
    Goofy, pompous, annoyingly boomer-myopic Fab Four musical.
    • 51 Metascore
    • 42 Owen Gleiberman
    A dawdling, myopic drama.
    • 56 Metascore
    • 42 Owen Gleiberman
    The film is so committed to its view of Ezra as a pawn in the psychotic game of postcolonial Africa that he is never allowed, as a character, to become more than a pawn.
    • 33 Metascore
    • 42 Owen Gleiberman
    Seems to have been given the comedy equivalent of blood thinner. It has the blazing satirical boldness to skewer the first Tobey Maguire Spider-Man -- and, amazingly, not much else.
    • 44 Metascore
    • 42 Owen Gleiberman
    The Ruins is lumpish, static, and obvious. It's a gringos-go-home cautionary fright flick done in the spirit of a cheap '50s horror movie, except that it leaves you longing for the competence of grade-Z studio-system trash.
    • 45 Metascore
    • 42 Owen Gleiberman
    A primer no one needed, Where in the World Is Osama bin Laden? should have been called "The Post-9/11 World for Dummies."
    • 33 Metascore
    • 42 Owen Gleiberman
    Graham is charming, but Miss Conception is a cloddish biological-clock bedroom farce.
    • 53 Metascore
    • 42 Owen Gleiberman
    The only brazen thing about the film is how shamelessly it rips off "School of Rock."
    • 15 Metascore
    • 42 Owen Gleiberman
    Friendly yet toothless, College musters little energy even as anarchic-party-movie nostalgia.
    • 37 Metascore
    • 42 Owen Gleiberman
    Miracle isn't powerful, it's muddled and diffuse.
    • 40 Metascore
    • 42 Owen Gleiberman
    The original Day the Earth Stood Still had a paranoid poetry that lifted the audience up even as it warned the world to come together. This one is so dour it just comes off as a scolding.
    • 41 Metascore
    • 42 Owen Gleiberman
    The Limits of Control, even with its flow of star cameos (Tilda Swinton, Gael García Bernal, a frenetic Bill Murray), is a listless long pause that rarely refreshes.
    • 41 Metascore
    • 42 Owen Gleiberman
    I can't imagine what Dali or Buñuel would have made of such bourgeois sentimentality.
    • 19 Metascore
    • 42 Owen Gleiberman
    There are brutal scenes with razor blades and other impromptu devices of erotic torment, but what makes the movie a trial to sit through isn't just the heroine's pain-freak tastes.
    • 28 Metascore
    • 42 Owen Gleiberman
    Gory but dramatically inert vampire schlocker.
    • 47 Metascore
    • 42 Owen Gleiberman
    It's no coincidence that The Box plays like the world's murkiest Twilight Zone episode. It's loosely based on ''Button, Button,'' a short story by Richard Matheson, who wrote some of the series' greatest scripts.
    • 40 Metascore
    • 42 Owen Gleiberman
    It wants to be "Good Will Hunting" set in the land of "Entourage," but its bummed-out touchy-feeliness is every bit as concocted as its overly jaded showbiz corruption.
    • 34 Metascore
    • 42 Owen Gleiberman
    Clyde is meant to be nuts, but too often it's Law Abiding Citizen that checks rationality at the door.
    • 41 Metascore
    • 42 Owen Gleiberman
    If only for the sake of adults, couldn't the folks behind the Alvin films have had the good grace to turn Alvin and the Chipmunks: The Squeakquel into a musical?
    • 51 Metascore
    • 42 Owen Gleiberman
    One of those tepid, genteel biopics that's far too busy ennobling its hero to bother giving him any recklessly interesting personality traits.
    • 31 Metascore
    • 42 Owen Gleiberman
    Without that heightened racial antipathy-turned-camaraderie, there's not a whole lot to Cop Out besides watching Kevin Smith pretend, with a crudeness that is simply boring, that he's an action director making a comic thriller about cops versus a Mexican drug gang (yawn).
    • 32 Metascore
    • 42 Owen Gleiberman
    A grisly one-note chase thriller.
    • 49 Metascore
    • 42 Owen Gleiberman
    But overall, this lazy, sweet trifle seems to express the banality of well-being.
    • 53 Metascore
    • 42 Owen Gleiberman
    The battles are grainy and ''existential,'' but what they aren't is thrilling. They're surging crowd scenes with streams of arrows and flecks of blood, and Crowe, slashing his way through them, is a glorified extra. He's so grimly possessed with purpose that he's a bore, and so is the movie.
    • 66 Metascore
    • 42 Owen Gleiberman
    The British director Ken Loach can be a master of working-class realism, but not in this cranky, rudderless shambles.
    • 37 Metascore
    • 42 Owen Gleiberman
    The surreal thing is, Zac Efron can't do despair.
    • 69 Metascore
    • 42 Owen Gleiberman
    Director Gaspar Noé proved a shock poet in "Irreversible" (2003). In Enter the Void, he's a shockingly tedious show-off.
    • 22 Metascore
    • 42 Owen Gleiberman
    This underworld fairy tale is so soggy and sentimental it's like a new genre: Hallmark noir.
    • 37 Metascore
    • 42 Owen Gleiberman
    The lesson is that fun can't be planned, but the film is so airless (think iCarly as a videogame) that there isn't a truly playful moment in it.
    • 56 Metascore
    • 42 Owen Gleiberman
    Neither colorfully brutal nor especially fun. It's a plodding, derivative gothic potboiler: "The Shining" meets "Coraline," with a touch of "Gremlins" played (boringly) straight.
    • 35 Metascore
    • 42 Owen Gleiberman
    This suburban gothic is a logy, convoluted mess.
    • 36 Metascore
    • 42 Owen Gleiberman
    The more that secret comes out, the more incoherent (and ludicrous) the film gets.
    • 68 Metascore
    • 42 Owen Gleiberman
    Overheated yet bizarrely opaque criminal character study from Belgium.
    • 48 Metascore
    • 42 Owen Gleiberman
    Red Hook Summer has some fantastic gospel numbers, but as drama it's a casserole that never comes together.
    • 52 Metascore
    • 42 Owen Gleiberman
    LUV
    The rapper and actor Common has become a highly skilled screen star, but this touchy-feely dud does him wrong.
    • 58 Metascore
    • 42 Owen Gleiberman
    The movie wants to be Hitchcockian, but it's the flat-footed Hitchcock of "Marnie" that Park evokes. His filmmaking here is hermetic and lugubrious, with each physical movement meaninglessly heightened and every line hanging in the air with (empty) significance.
    • 45 Metascore
    • 42 Owen Gleiberman
    Upside Down is a very fancy piece of junk.
    • 48 Metascore
    • 42 Owen Gleiberman
    Ready to Wear is messy and vaguely nasty -- a blur with attitude.
    • 48 Metascore
    • 42 Owen Gleiberman
    The things that once made Neil LaBute's movies seem like tossed grenades — the loutish protagonists, the sadism toward women — now come off as more dated than scandalous.
    • 66 Metascore
    • 42 Owen Gleiberman
    The best thing in the movie is Arterton's sultry, claw-baring turn, but mostly it's a rudderless riff on "Let the Right One In."
    • 37 Metascore
    • 42 Owen Gleiberman
    It's a solemnly preposterous piece of designer revenge pulp, with actors who stand around bathed in red and blue light like David Lynch mannequins in between scenes of torture and murder.
    • 37 Metascore
    • 42 Owen Gleiberman
    Adore has the distinction of featuring some of the most laughable dialogue in any movie this year.
    • 52 Metascore
    • 42 Owen Gleiberman
    The Monuments Men sounds like a what's-not-to-like? movie, but it turns out to be a bizarre failure.
    • 40 Metascore
    • 42 Owen Gleiberman
    The movie never finds a way to blend the emotional and the rat-a-tat-tat into one seamless package the way that Besson did in his one and only good movie, The Professional (1994).
    • 48 Metascore
    • 42 Owen Gleiberman
    The movie itself is convoluted and almost unbelievably lackluster.
    • 38 Metascore
    • 33 Owen Gleiberman
    The fusion of cheekiness and deliberately overscaled fantasy never jells.

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