Owen Gleiberman

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For 2,514 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 4.3 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Bloody Sunday
Lowest review score: 0 A Life Less Ordinary
Score distribution:
2514 movie reviews
    • 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.
    • 27 Metascore
    • 50 Owen Gleiberman
    A romantic comedy with all the confectionary value of one of those watery diet shakes; it practically evaporates while you're watching it.
    • 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.
    • 57 Metascore
    • 50 Owen Gleiberman
    It lopes along, merrily but a bit slack, always reminding you of the earlier Guest films, and then it works up a bit of a fizz in the competition.
    • 52 Metascore
    • 50 Owen Gleiberman
    There isn't much to the characters in this morose thriller.
    • 33 Metascore
    • 50 Owen Gleiberman
    This is just cut-rate, generic daughter of Indy Jones hokum.
    • 48 Metascore
    • 50 Owen Gleiberman
    This is very much a ''woman's picture,'' driven by a twin rudder of anxiety and empowerment.
    • 49 Metascore
    • 50 Owen Gleiberman
    But when it comes to that great puppy pilgrimage, the movie, which was written and produced by John Hughes, falls astoundingly flat.
    • 42 Metascore
    • 50 Owen Gleiberman
    Deliberately quaint and old-fashioned, a once-over-slightly exercise in nostalgic wonder directed by the British-born great-grandson of H.G. Wells, who treats the spirit of his ancestor's novel with literal-minded fealty.
    • 25 Metascore
    • 50 Owen Gleiberman
    There's only one place that a movie like this one can possibly be heading, and that's to a demagogic blowout of violent, femme-power payback. Enough gets there by way of far too many tedious detours.
    • 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.
    • 51 Metascore
    • 50 Owen Gleiberman
    The Golden Compass is a snowbound mystical-whizbang kiddie ride that hovers somewhere between the loopy and the lugubrious.
    • 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.
    • 29 Metascore
    • 50 Owen Gleiberman
    What's going on is: hunks on horsies.
    • 30 Metascore
    • 50 Owen Gleiberman
    It has no twistiness or intrigue, and none of the juicy anthro-underworld detail that Koppelman and Levien brought to their screenplay for the tricky, enjoyable ''Rounders.''
    • 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.
    • 68 Metascore
    • 50 Owen Gleiberman
    There's a certain breed of annoying indie movie in which a character's shyness is portrayed in a manner so coy that it becomes a reverse form of exhibitionism. Jump Tomorrow is that kind of movie.
    • 31 Metascore
    • 50 Owen Gleiberman
    Isn't coherent, exactly, but what dripping-ghoul horror movie is these days? The new rule is, It's not hip to make sense when you're raising hell.
    • 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.
    • 34 Metascore
    • 50 Owen Gleiberman
    On the Line would like to be ''Serendipity'' for the Oxy-and-Skechers set, but it feels more like the worst movie Michael J. Fox never made.
    • 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.
    • 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.
    • 32 Metascore
    • 50 Owen Gleiberman
    Land of the Lost has stray amusing tidbits, but overall it leaves you feeling splattered.
    • 71 Metascore
    • 50 Owen Gleiberman
    This makes for a friendly romp, and also a dull one.
    • 51 Metascore
    • 50 Owen Gleiberman
    Anxiety is a fair response to a midlife crisis, but that hardly means that we want to see the heroine of a movie spend scene after scene trapped in a nervous dither of indecision. That's exactly what happens in Lucia, Lucia.
    • 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.
    • 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.
    • 19 Metascore
    • 50 Owen Gleiberman
    Has the look of a great fairy tale -- all that's missing is the tale.
    • 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.''
    • 62 Metascore
    • 50 Owen Gleiberman
    Has the dubious distinction of being just about the mildest porno comedy ever made. It's like something the teenage Pedro Almodóvar might have written to shock his 10th-grade creative writing teacher.
    • 56 Metascore
    • 50 Owen Gleiberman
    In Storks, the jokes fall flat, but the pace is relentless, and those two things seem somehow intertwined, as if the filmmakers had convinced themselves that comedy that whips by fast enough won’t go thud.
    • 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.
    • 73 Metascore
    • 50 Owen Gleiberman
    The animation in Lilo & Stitch has an engaging retro-simple vivacity, and it's nice to see a movie for tots make use of Elvis Presley, but the story is witless and oddly defanged.
    • 24 Metascore
    • 50 Owen Gleiberman
    The umpteenth recycled shocker about a mystical dark child with an aura of disaster.
    • 36 Metascore
    • 50 Owen Gleiberman
    Theron is an arresting image, but, like everything else in Aeon Flux, she's stranded in a trashy and derivative glum zone of fashion-runway fascism.
    • 31 Metascore
    • 50 Owen Gleiberman
    A genially cruddy B movie can sometimes go places - sort of - that bigger movies won't.
    • 56 Metascore
    • 50 Owen Gleiberman
    Michael Moore In TrumpLand turns out to be a tossed hand grenade that doesn’t fully detonate.
    • 55 Metascore
    • 50 Owen Gleiberman
    The trouble with The Truth About Charlie is that it really is after the truth about Charlie, a character we could hardly give a damn about. The only charade is the illusion that we might actually be entertained.
    • 43 Metascore
    • 50 Owen Gleiberman
    When we finally do see what happened, it's a genuine shock, a nightmare vision of a hedonist who forged his own hell.
    • 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.
    • 49 Metascore
    • 50 Owen Gleiberman
    As it is, The Mechanic is ham-fisted pulp, like Robert Rodriguez's "Machete" taking itself seriously.
    • 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.
    • 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.
    • 37 Metascore
    • 50 Owen Gleiberman
    The journey, however, is a hollow one, since Quaid and Stone, for all their efforts, never really do seem married. Perhaps that's because Stone, with her dry-ice charisma, does everything that an actress should except connect to whomever she happens to be facing on screen.
    • 48 Metascore
    • 50 Owen Gleiberman
    Titan A.E. is ''Star Wars'' pulped and mashed into flavorless kiddie corn.
    • 57 Metascore
    • 50 Owen Gleiberman
    The trouble isn’t that Greenwald is preaching to the choir; a good documentary can increase the passion of the choir. It’s that he isn’t adding in any meaningful way to the choir’s knowledge.
    • 59 Metascore
    • 50 Owen Gleiberman
    One of those raucous, hyperactive kiddie flicks that knocks you upside the head from its opening frame.
    • 43 Metascore
    • 50 Owen Gleiberman
    This one is somberly kinetic and joyless.
    • 31 Metascore
    • 50 Owen Gleiberman
    A self-righteous mishmash that can't decide whether to be a tribute to the fanatical leftist passion that thrives in college towns, an indictment of that very same fanaticism, or a ghoulishly didactic snuff-video thriller.
    • 37 Metascore
    • 50 Owen Gleiberman
    Displays no ambition to be anything more than a synthetic sense-jolt conveyor of the week.
    • 52 Metascore
    • 50 Owen Gleiberman
    The movie is intelligent yet lifeless; it's all wisps and abstractions.
    • 55 Metascore
    • 50 Owen Gleiberman
    What in the Buddha's name is going on in I Heart Huckabees? Russell has come up with a grab bag of ideas that don't stick with you because they don't stick together.
    • 62 Metascore
    • 50 Owen Gleiberman
    Mostly a mess: toothless when it should be nasty, not so much madcap as merely frantic.
    • 74 Metascore
    • 50 Owen Gleiberman
    At once spectacular and inert -- a mosaic impersonating a movie; an empty-shell epic.
    • 41 Metascore
    • 50 Owen Gleiberman
    There’s only one place for Passengers to go, and once it gets there, Jon Spaihts’s script runs out of gas. Tyldun handles the dialogue almost as if he were doing a stage play, but he turns out to be a blah director of spectacle; he doesn’t make it dramatic.
    • 24 Metascore
    • 50 Owen Gleiberman
    Tastefully embarrassing.
    • 69 Metascore
    • 50 Owen Gleiberman
    The Go-Getter travels, but it doesn't go anywhere.
    • 53 Metascore
    • 50 Owen Gleiberman
    In the film's rather humdrum 3-D, the place doesn't dazzle — it droops.
    • 65 Metascore
    • 50 Owen Gleiberman
    Soderbergh, in essence, has come up with a plodding and far less psychologically arresting version of ''Ghost.''
    • 67 Metascore
    • 50 Owen Gleiberman
    Benoît Jacquot's film is shackled to a blah bourgeois leftism.
    • 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.
    • 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.
    • 21 Metascore
    • 50 Owen Gleiberman
    This is a high octane ride that starts to leak gas before it even gets going.
    • 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.
    • 30 Metascore
    • 50 Owen Gleiberman
    The movie could have used a brain transplant. It doesn't explore injustice -- it just exploits it.
    • 35 Metascore
    • 50 Owen Gleiberman
    The movie is altogether too infatuated with its ramshackle spirit. Most of the gags take after the characters -- they just sit there.
    • 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.
    • 49 Metascore
    • 50 Owen Gleiberman
    In Wilson, Daniel Clowes’ voice, which was once acerbically hip, sounds dated.
    • 62 Metascore
    • 50 Owen Gleiberman
    In The Dreamers, Bertolucci wants to take us back to a more revolutionary time, but mostly he ends up recalling the faded revolution of his own glory days.
    • 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
    • 47 Metascore
    • 50 Owen Gleiberman
    We're just watching a film try to pass off misanthropic blunt-wittedness as "edge."
    • 72 Metascore
    • 50 Owen Gleiberman
    Inland Empire is so locked up in David Lynch's brain that it never burrows its way into ours.
    • 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.
    • 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.
    • 52 Metascore
    • 50 Owen Gleiberman
    It's so shameless, so psychotically nervous about keeping you ''thrilled,'' that the phrase over the top won't do it justice. It's like a drug designed for people who've done every drug and now want to be jet-propelled into numbness.
    • 40 Metascore
    • 50 Owen Gleiberman
    At this point, there's something almost masochistic about the way animators in Japan use cheesy ''Westernized'' heroes to fuel their fantasies.
    • 26 Metascore
    • 50 Owen Gleiberman
    Studded with Lampoon/John Hughes anachronisms.
    • 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.
    • 39 Metascore
    • 50 Owen Gleiberman
    There are two sparks of light amid the trifling dialogue and bad faux-'80s love-on-the-beach montages in Havana Nights, and they are the film's costars.
    • 48 Metascore
    • 50 Owen Gleiberman
    It’s little more than a schlock replay of “Ex Machina.” It toys around with some of the same situations, but it doesn’t know where to take them. Instead of developing its themes, it uses them as grist for an overload of “commercial” action.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Owen Gleiberman
    Daybreakers turns?into a ponderous apocalyptic chase film -- it's like "Children of Men" with exploding-plasma shock effects.
    • 49 Metascore
    • 50 Owen Gleiberman
    The trouble with Newness — and the reason it’s shot in such a clinical vérité fashion — is that it’s a thesis movie, heady and ambitious yet overly thought out.
    • 55 Metascore
    • 50 Owen Gleiberman
    The movie is stiff-jointed and dull.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Owen Gleiberman
    Denzel Washington, by now, could do this sort of role in his sleep.
    • 32 Metascore
    • 50 Owen Gleiberman
    To call Lukas Moodysson's A Hole in My Heart the feel-bad movie of the year would be an understatement -- it's the feel-sick movie of the millennium.
    • 32 Metascore
    • 50 Owen Gleiberman
    Jolie, in this movie at least, has exactly two expressions: blank wistfulness and blank dismay. She reduces the tides of history to one more raided tomb.
    • 46 Metascore
    • 50 Owen Gleiberman
    The movie has the structure of a madcap romantic chase without the wiggy, busting-out freedom.
    • 42 Metascore
    • 50 Owen Gleiberman
    Bay doesn't stage scenes, exactly -- he stages moments.
    • 42 Metascore
    • 50 Owen Gleiberman
    A ''fun trash'' movie that's more trash than fun.
    • 48 Metascore
    • 50 Owen Gleiberman
    A Lot Like Love is a lot like a romantic comedy, except that all that's keeping these two kids apart is the trivially insufferable movie they're in.
    • 73 Metascore
    • 50 Owen Gleiberman
    A thriller that wheezes along on bits and pieces of ''character.''
    • 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.
    • 52 Metascore
    • 50 Owen Gleiberman
    It delivers — on some basic, giddy, turn-off-your-frontal-lobes level. It’s an action-comedy utensil, like “Rush Hour” crossed with an old Arnold Schwarzenegger shoot-’em-up, with a few goofy added sprinkles of “Romy and Michele’s High School Reunion.”
    • 33 Metascore
    • 50 Owen Gleiberman
    The result is an ''action film'' mired in stasis. The ending piles on the potboiler mayhem, but it's telling that Schwarzenegger's climactic catchphrase is down to one measly word. This time, he's the luggage.
    • 54 Metascore
    • 50 Owen Gleiberman
    Too scattershot to take hold.
    • 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.
    • 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
    Divided into chapters, the film jumps around in time, which means that we get to observe Shimizu's utter failure to develop his characters from endless narrative angles.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 31 Metascore
    • 50 Owen Gleiberman
    Mostly hot air.
    • 46 Metascore
    • 50 Owen Gleiberman
    Generation Startup is too blurry about the grass-roots wheeling and dealing it shows.
    • 44 Metascore
    • 50 Owen Gleiberman
    Watchable in a facile, trashy way. Unfortunately, most of the movie is mired in sludge, slime, mud, blood, and studiously dank cinematography.
    • 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.
    • 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.)
    • 25 Metascore
    • 50 Owen Gleiberman
    Obsessed has little plausibility, but at moments it's an entertaining bad movie, and the performers are vivid.
    • 77 Metascore
    • 50 Owen Gleiberman
    The movie takes the form of a lackluster women's-prison picture.
    • 44 Metascore
    • 50 Owen Gleiberman
    It's less a tale of religious rebirth than a faith-based Hallmark card.
    • 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.
    • 47 Metascore
    • 50 Owen Gleiberman
    Never tickles your nasty bone, perhaps because, in an era when the gossip pages are dotted with news of celebrity prenups, the prospect of marriage as a route to instant fortune seems less scandalous than it does like business as usual.
    • 55 Metascore
    • 50 Owen Gleiberman
    Schrader, in Auto Focus, displayed a devious sense of sin, but in Dominion the Calvinist schoolboy in him insists on trumping sin with guilt.
    • 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).
    • 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."
    • 21 Metascore
    • 50 Owen Gleiberman
    Freddie Prinze Jr. has a look in his eye that is equal parts self-infatuation and boyish flash of fear.
    • 51 Metascore
    • 50 Owen Gleiberman
    Moretti makes this ''study'' in despair a naggingly neutral, at times borderline coy experience.
    • 28 Metascore
    • 50 Owen Gleiberman
    At once hypnotic and baffling, filled with surreal motifs and symbols, Fire Walk With Me could be the most rarefied teen horror film ever made: It's like "A Nightmare on Elm Street" directed by Michelangelo Antonioni.
    • 46 Metascore
    • 50 Owen Gleiberman
    Kiss the Girls is a fake psychological thriller that turns into a garishly schlocky and implausible bogeyman hunt.
    • 64 Metascore
    • 50 Owen Gleiberman
    Living Out Loud is like "An Unmarried Woman" recast as a sitcom-cute update of Marty.
    • 79 Metascore
    • 50 Owen Gleiberman
    The stab at sublimity-by-proxy doesn't take.
    • 58 Metascore
    • 50 Owen Gleiberman
    The film comes off as an elaborately didactic and overheated lecture.
    • 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.
    • 24 Metascore
    • 50 Owen Gleiberman
    The only fun is in watching Stallone square off against Alan Cumming and Mickey Rourke.
    • 13 Metascore
    • 50 Owen Gleiberman
    A thriller primarily about the movement of Cindy Crawford's breasts beneath a succession of ever-smaller T-shirts.
    • 45 Metascore
    • 50 Owen Gleiberman
    Walker is supposed to be lured by the buried treasure, but the actor, wearing Brad Pitt's bristle cut, is like Pitt with his sexy appetite sucked out.
    • 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.
    • 60 Metascore
    • 50 Owen Gleiberman
    Its tone is stilted and mannered -- and most of it seems a bit loony.
    • 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.''
    • 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.
    • 61 Metascore
    • 50 Owen Gleiberman
    Like a naive modernist hymn made by someone who doesn't, deep down, believe in hymns.
    • 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.
    • 44 Metascore
    • 50 Owen Gleiberman
    A premise masquerading as a movie.
    • 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.
    • 41 Metascore
    • 50 Owen Gleiberman
    Lawrence Kasdan's comedy strikes a note of rib-nudging blah coyness that feels very 1987.
    • 44 Metascore
    • 50 Owen Gleiberman
    Second Best might have made a good stage monologue, but as a film it's overstated and barely baked.
    • 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.
    • 31 Metascore
    • 50 Owen Gleiberman
    Amiably silly.
    • 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.
    • 73 Metascore
    • 50 Owen Gleiberman
    It's not enough for the film to show us a child's corpse wrapped in cardboard; we've got to step back to see Kiarostami himself shooting the sad sight, so that it becomes a Godardian ironic statement.
    • 64 Metascore
    • 50 Owen Gleiberman
    The upshot is that those who appear to be guilty may not be -- a muddled message for our time.
    • 60 Metascore
    • 50 Owen Gleiberman
    He leaps so quickly into exaggeration that he bypasses reality, and the result isn’t very funny.
    • 49 Metascore
    • 50 Owen Gleiberman
    Never lets Grant develop his pidgin-Italian nice-guy-gone-sociopath routine.
    • 72 Metascore
    • 50 Owen Gleiberman
    The movie is so busy turning the Sioux characters into photogenic saints that it never quite allows them the complications of human beings.
    • 50 Metascore
    • 50 Owen Gleiberman
    The trouble with Guillaume Canet's French gloss on "The Big Chill" is that it has no underlying chill.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 50 Owen Gleiberman
    It longs to be a close-to-the-bone lampoon in the scathing spirit of Christopher Guest, and it has a few amusing moments, but it’s really a predigested one-joke comedy. It’s less an honest satire than an overscaled satirical package.
    • 45 Metascore
    • 50 Owen Gleiberman
    On Stranger Tides isn't nearly strange enough. Its one real act of piracy is stealing away your excitement.
    • 47 Metascore
    • 50 Owen Gleiberman
    Wearing a brush cut that never fits the role, Carrey doesn't do a lot here besides flash those vampire-nerd teeth, and I grew weary of seeing them.
    • 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."
    • 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.
    • 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.
    • 32 Metascore
    • 50 Owen Gleiberman
    The strangest thing about The Shack, and the reason it’s finally a so-so movie, is that all the rage and terror and dark-side vengeance that Mack has to learn to transcend is something we’re told about, but we never actually see him mired in it.
    • 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."
    • 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.
    • 51 Metascore
    • 50 Owen Gleiberman
    Far too cloyingly pleased with its own humanity.
    • tbd Metascore
    • 50 Owen Gleiberman
    The Bounce Back was co-written, directed, and edited by Youseff Delara, and for a while he creates some lively screwball tension.
    • 51 Metascore
    • 50 Owen Gleiberman
    Neat as Joe looks, you do wish that someone had bothered to give him a personality.
    • 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.
    • 58 Metascore
    • 50 Owen Gleiberman
    What's really needed is a story with some sizzle, but Bigelow, in K-19, can't seem to decide whether she's making a shoot-the-works underwater rouser, like ''U-571'' or ''Crimson Tide,'' or a lofty historical message movie that hits us with the breaking news that the arms race was, in every sense, a poisonous game.
    • 44 Metascore
    • 50 Owen Gleiberman
    Rails & Ties is like one bad TV movie that slammed into another.
    • 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.
    • 56 Metascore
    • 50 Owen Gleiberman
    A Dirty Shame isn't dirty fun. It's the perv "Footloose."
    • 27 Metascore
    • 50 Owen Gleiberman
    Welcome to the brave new world of slut-chic cosmetic feminism.
    • 82 Metascore
    • 50 Owen Gleiberman
    It is also glib, shallow, and monotonous, a movie that spends so much time sanctifying its hero that, despite his "innocence," he ends up seeming about as vulnerable as Superman.
    • 63 Metascore
    • 50 Owen Gleiberman
    For all the powerful relevance of its subject, Denial, directed by Mick Jackson from a script by David Hare, never finds its grip. It’s a curiously awkward and slipshod movie that winds up being about nothing so much as the perverse, confounding eccentricities of the British legal system.
    • 34 Metascore
    • 50 Owen Gleiberman
    Too often, The Fourth Kind makes the paranormal look disappointingly normal.
    • 48 Metascore
    • 50 Owen Gleiberman
    “Kampai!” is scattered and rudderless, though the film’s biggest letdown is that it barely whets your whistle for a taste of sake. It might have been made “for the love,” but by the end the movie has squandered it.
    • 64 Metascore
    • 50 Owen Gleiberman
    When the film version isn't assaulting you with gizmos, it's an awkward, depersonalized piece of hackwork.
    • 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.
    • 44 Metascore
    • 50 Owen Gleiberman
    The film has gruesomely effective moments, and one at times gets caught up in the gears of its big interlocked narrative, but it also has serious longueurs.
    • 45 Metascore
    • 50 Owen Gleiberman
    The Chamber goes so far toward humanizing bigotry it ends up sentimentalizing it.
    • 77 Metascore
    • 50 Owen Gleiberman
    Lee Marvin, it must be said, is terrific as the platoon commander, and Fuller deserves props for the film's one sustained sequence: the D-Day attack, in which the platoon gets pinned on the beach for a hellish eternity.
    • 37 Metascore
    • 50 Owen Gleiberman
    Falls short of its source.
    • 47 Metascore
    • 50 Owen Gleiberman
    This strenuously dark biographical Western plays more like a choppy, self-important miniseries.
    • 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.
    • 57 Metascore
    • 50 Owen Gleiberman
    Each of these improv farceurs wins a few laughs. But not enough.
    • 64 Metascore
    • 50 Owen Gleiberman
    Chabrol has fashioned a mystery that caves in on itself, but unfortunately, it caves in on the audience, too.
    • 26 Metascore
    • 50 Owen Gleiberman
    Stone's latest penance is Gloria, the Sidney Lumet-directed dud that sprung from the singularly bad idea of remaking John Cassavetes' oddball 1980 character study. I mean, really, did anyone even like the original?
    • 77 Metascore
    • 50 Owen Gleiberman
    To see this much austere vérité atmosphere propping up this much schlock romanticism is like biting into a blue-cheese canapé that turns out to be a fluffernutter.
    • 42 Metascore
    • 50 Owen Gleiberman
    By the end, I was starting to ponder questions like, If a vampire mates with a lycan-vamp hybrid, which parent will have to convert?
    • 28 Metascore
    • 50 Owen Gleiberman
    Ends up about as exotic as a straight-to-cable potboiler.
    • 37 Metascore
    • 50 Owen Gleiberman
    The Tourist isn't a debacle, but it's a caper that's fatally low on carbonation.
    • 78 Metascore
    • 50 Owen Gleiberman
    You'd have to be a stone not to be affected by My Flesh and Blood, but the director, Jonathan Karsh, merges compassion with voyeurism until you can't tell the difference.
    • 58 Metascore
    • 50 Owen Gleiberman
    Will Smith, taking a break from summer sci-fi smashfests, certainly shows a gift for modulation. Far from coasting, he plays a world expert at romance by ratcheting his charm up and down in supple, exacting degrees.
    • 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.
    • 48 Metascore
    • 50 Owen Gleiberman
    It's a schlockier ''Armageddon'' crossed with ''Fantastic Voyage,'' minus the fun.
    • 63 Metascore
    • 50 Owen Gleiberman
    Life desperately wants to let Murphy and Lawrence be actors, but it can't imagine them as anything more than rowdy showmen. That's a kind of prison as well.
    • 66 Metascore
    • 50 Owen Gleiberman
    It’s not necessary, of course, for The Phenom to be an all-out sports drama, but writer-director Noah Buschel sets up the rare opportunity to explore what makes a jock tick, then doesn’t follow through.
    • 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.
    • 56 Metascore
    • 50 Owen Gleiberman
    The aerial-dogfight scenes, which are beautiful and shot through with jittery panic, are notable for not being staged for videogame kicks.
    • 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.
    • 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.
    • 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.
    • 38 Metascore
    • 50 Owen Gleiberman
    This is a movie so devoted to metal that it couldn't care less about the flesh it destroys.
    • 20 Metascore
    • 50 Owen Gleiberman
    The characters twirl around like mini tornadoes, but between random brash moments of technological eye-tickling, Son of the Mask sags more than it spins.
    • 77 Metascore
    • 50 Owen Gleiberman
    An unabashed descendant of "Bring Me the Head." This time, though, it's an entire corpse that gets hauled through the desert, and that's not all that's being toted. So is a hefty parcel of racial correctness.
    • 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.
    • 33 Metascore
    • 50 Owen Gleiberman
    Best to experience Shaker Heights for what it is: not a movie, exactly, but the true season capper of ''Project Greenlight,'' a series that finds its very drama on the road to mediocrity.
    • 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.
    • 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.
    • 29 Metascore
    • 50 Owen Gleiberman
    An act of nose-thumbing that never quite figures out how, or even where, to position its thumb.
    • 62 Metascore
    • 50 Owen Gleiberman
    A feel-good movie that doesn't give you enough to feel good about.
    • 63 Metascore
    • 50 Owen Gleiberman
    If you think it all adds up to a bald-faced rip off of ''The Shining,'' you'd be right, with a crucial difference: Wendigo trades the puffed-up metaphysics of middle-class murder for the no-budget spectacle of...an incredibly fake-looking monster deer.
    • 49 Metascore
    • 50 Owen Gleiberman
    The numbers, while lively, remain cluttered and stage-bound. The women, however, are spirited and sexy.
    • 63 Metascore
    • 50 Owen Gleiberman
    Rio
    The soundtrack, overseen by Sergio Mendes, has a few lively bossa nova moments, but not nearly enough.
    • 27 Metascore
    • 50 Owen Gleiberman
    It's been a while since we saw a bad John Hughes comedy, and Are We There Yet? more than fits the bill (even though Hughes had absolutely nothing to do with it).
    • 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
    A derisively vicious show-off satire, a plastic exercise in authority bashing.
    • 26 Metascore
    • 50 Owen Gleiberman
    The movie is short on wisdom, but it might have gotten by if it had had better filth.
    • 70 Metascore
    • 50 Owen Gleiberman
    The quaint racial blinders are really on the eyes of the filmmaker, Peter Hedges, who shoves his characters into the narrowest of sitcom slots and seals them there.
    • 53 Metascore
    • 50 Owen Gleiberman
    For all the ravaged surface appeal of McConaughey’s performance, the character is a little too good to be true, but then, that’s just the sort of movie Free State of Jones is. It’s a tale of racial liberation and heroic bloodshed that is designed, at almost every turn, to lift us up to that special place where we can all feel moved by what good liberals we are.
    • 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.
    • 38 Metascore
    • 50 Owen Gleiberman
    After ''Seven'' and three ''Hannibal'' hits, the audience tolerance for baroque serial-killer flourishes has been duly amped. We require sustained creativity in our sick violence, and Taking Lives, after a token bit of ghastly foreplay, loses its life.
    • 52 Metascore
    • 50 Owen Gleiberman
    May find an audience, but I found it to be a leftover John Hughes triangle.
    • 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.
    • 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.
    • 78 Metascore
    • 50 Owen Gleiberman
    Designed to be "inspirational," yet it shortchanges the complex reality of the lives it makes such a show of saving.
    • 23 Metascore
    • 50 Owen Gleiberman
    By the end of Collateral Beauty, you’d have to have a heart of stone for the film not to get to you a bit, but even if it does, you may still feel like you’ve been played.
    • 59 Metascore
    • 50 Owen Gleiberman
    Rory O'Shea Was Here gazes at the physically afflicted and just about begs for our sympathy long after we've grown restless and eager to feel something else.
    • 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
    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."
    • 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.
    • 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
    The film has flashes of psychedelic visual energy, but its story is limp.
    • 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.
    • 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.
    • 34 Metascore
    • 50 Owen Gleiberman
    Watching the movie, it's hard to imagine why anyone would dream of going back there.
    • 35 Metascore
    • 50 Owen Gleiberman
    Indecent Proposal starts out kinky and turns into a languid-and shockingly banal- domestic soap opera.
    • 44 Metascore
    • 50 Owen Gleiberman
    We’re now so awash in superhero culture that kids no longer need the safe, lame, pandering junior-league version of it. They can just watch “Ant-Man” or the PG-13 “Suicide Squad.” Safe, lame, and pandering have all grown up.
    • 27 Metascore
    • 50 Owen Gleiberman
    Thérese unfolds with the sunlight-and-daffodils piety of a Sunday school slide show.
    • 40 Metascore
    • 50 Owen Gleiberman
    This rusted-future comic strip comes at you in shards -- exhaustingly derivative images of mayhem and titillation, with Lee, in her bad-girl bondage gear, as its blank vixen. If you didn't call her babe, she wouldn't exist.
    • 76 Metascore
    • 50 Owen Gleiberman
    The film is so self-conscious it seems to be dictating your every reaction.
    • 51 Metascore
    • 50 Owen Gleiberman
    I'm disappointed to report that Hudson and Watts have no chemistry as sisters, perhaps because Watts never seems like the expatriate artiste she's supposed to be playing.
    • 24 Metascore
    • 50 Owen Gleiberman
    It's every bit as nonsensical and overitalicized a mess as ''The Whole Nine Yards.''
    • 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.
    • 60 Metascore
    • 50 Owen Gleiberman
    The real crime is the way that the movie turns Gael García Bernal, the hot-tempered, Roman-lipped costar of ''Y Tu Mamá También, into a backwater Freddie Prinze Jr.
    • 42 Metascore
    • 50 Owen Gleiberman
    Has no pretentions to be anything more than a goose-bumpy fantasy theme-park ride for kids, but it's such a routine ride.
    • 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."
    • 61 Metascore
    • 50 Owen Gleiberman
    This very Canadian thriller (i.e., no humor, lots of literal-minded future-shock portentousness) certainly does a number on you, though not necessarily a pleasurable one.
    • 58 Metascore
    • 50 Owen Gleiberman
    Works hard to be exciting, but the movie scarcely lives up to its title. It could have used a bit of a fuel injection itself.
    • 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.
    • 22 Metascore
    • 50 Owen Gleiberman
    One more case of a winning ''SNL'' character tamed by the wan, fizzled farce around him.
    • 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.
    • 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?
    • 20 Metascore
    • 50 Owen Gleiberman
    Ends up blowing its own joke. Instead of making Joe blissfully arrogant in his Southern rock dude myopia, it turns him into a shuffling masochistic loser.
    • 58 Metascore
    • 50 Owen Gleiberman
    Not until the last 20 minutes does Gozu come fully alive. A man has sex with a seductive beauty, who then gives birth to...well, let's just say it's a sight that may take time to fight its way out of your head.
    • 37 Metascore
    • 50 Owen Gleiberman
    Even when it seems to be making things up as it goes along, its slapdash hallucinatory quality is a token gesture toward placing you inside the characters’ heads.
    • 40 Metascore
    • 50 Owen Gleiberman
    This clumsy, cheesy, chintzy adaptation, with its F/X that look dated the moment you see them, is like something left over from the '60s.
    • 36 Metascore
    • 50 Owen Gleiberman
    A trashy, frenetic remake of Fred Zinnemann's 1973 The Day of the Jackal, The Jackal is mired in blood, cheap shocks, and a random network of improbability.
    • 13 Metascore
    • 50 Owen Gleiberman
    Dudsville.
    • 56 Metascore
    • 50 Owen Gleiberman
    About the only thing the movie kills with any decisiveness is your time.
    • 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.
    • 44 Metascore
    • 50 Owen Gleiberman
    Daniels plays Arlen with a kind of cuddly crankiness; he makes him a jerk who just needs a hug.
    • 62 Metascore
    • 50 Owen Gleiberman
    The Rocketeer is mostly an example of pop moviemaking at its most derivative.
    • 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.
    • 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.
    • 42 Metascore
    • 50 Owen Gleiberman
    Slipshod rather than sly. There's no fury to the movie, repressed or otherwise, which may be why when the Revolution arrives, it has all the impact of a guillotine with a deadly dull blade.
    • 68 Metascore
    • 50 Owen Gleiberman
    Feels cramped and underimagined. I think Judge is capable of making an inspired live-action comedy, but next time he'll have to remember to do what he does in his animated ones--keep the madness popping.
    • 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.
    • 46 Metascore
    • 50 Owen Gleiberman
    It has been put together with just enough efficiency to qualify as an oddball labor of love.
    • 54 Metascore
    • 50 Owen Gleiberman
    Fuqua is trying for John Ford meets Sergio Leone: a funky classical sweep, with room for delirious shootouts. The trouble is that he mimics the trademarks of those directors without their élan, and the plot that was once catchy is now rote.
    • 62 Metascore
    • 50 Owen Gleiberman
    Godard, as always, sounds full of insight, yet he uses the past to damn the present in a way that may be reflexively self-serving. In Praise of Love leaves a taste as bitter as poison ash.
    • 58 Metascore
    • 50 Owen Gleiberman
    The director, Paul Schrader, tries for cleansing audacity, but ends up too close to farce.
    • 73 Metascore
    • 50 Owen Gleiberman
    Pictorial but oddly muffled three-hour saga of romance and capitalism, not necessarily in that order.
    • 35 Metascore
    • 50 Owen Gleiberman
    Liman, for all his craft, doesn't have enough FUN with the premise.
    • 68 Metascore
    • 50 Owen Gleiberman
    The director's famously over-deliberate, pause-laden style verges, for the first time, on amateurville, and that gives us too much time to linger on the movie's more bizarre details.
    • 67 Metascore
    • 50 Owen Gleiberman
    Trust, the cult-movie view turns precious and smug.
    • 74 Metascore
    • 50 Owen Gleiberman
    As a fantasy, Orlando has been spun out of a rather glib idea: that the mere assertion of Androgyny As Destiny is automatically a brave, emotionally triumphant stance for our time. The truth is, when androgyny is shrouded in this much deadening ”art,” it becomes little more than a haughty exercise in academic chic.
    • 49 Metascore
    • 50 Owen Gleiberman
    Soul Men could have done with less amped-up abrasiveness and more soft-shoe charm.
    • 40 Metascore
    • 50 Owen Gleiberman
    There's only one performer in the movie who looks completely at ease with what he's doing: the horse.
    • 49 Metascore
    • 50 Owen Gleiberman
    By the end, the main thing that's been abused is the audience's intelligence.
    • 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.
    • 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.
    • 69 Metascore
    • 50 Owen Gleiberman
    The Farrellys may well be the new kingpins of adolescent slob comedy, but There's Something About Mary doesn't approach the witty anarchy of movies like "Animal House," "The Naked Gun," or "Hairspray."
    • 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.
    • 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.
    • 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.
    • 84 Metascore
    • 50 Owen Gleiberman
    Maddin chops it up into a feature-length antique-bloodsucker video, and the result takes hold neither as dance nor as silent horror dream.
    • 23 Metascore
    • 50 Owen Gleiberman
    The film should have been called ''Lock, Stock and Two Wilting Barrels.''
    • 58 Metascore
    • 50 Owen Gleiberman
    As a fairy-tale confection, a kind of West Side Story in Jamestown, Pocahontas is pleasant to look at, and it will probably satisfy very small kiddies, but it's the first of the new-era Disney cartoons that feels less than animated.
    • 24 Metascore
    • 50 Owen Gleiberman
    An idiot variation on Frank Capra's ''Mr. Deeds Goes to Town,'' might have been thrown together in even less time than it takes Sandler to get dressed in the morning; it feels sort of like the dumbest corporate comedy of 1987.
    • 61 Metascore
    • 50 Owen Gleiberman
    It turns out that speeding along dirt roads isn't nearly as photogenic - or as varied - as surfing is.
    • 53 Metascore
    • 50 Owen Gleiberman
    The movie is too cute to lose its head in the music. It never generates its own ecstasy.
    • 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.
    • 69 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.
    • 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.
    • 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.

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