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 Bubble
Lowest review score: 0 Corky Romano
Score distribution:
2,347 movie reviews
    • 76 Metascore
    • 100 Owen Gleiberman
    Down to the Bone achieves what only the best independent films have: making life, at its most unvarnished, a journey.
    • 72 Metascore
    • 100 Owen Gleiberman
    To call Match Point Woody Allen's comeback would be an understatement - it's the most vital return to form for any director since Robert Altman made "The Player."
    • 78 Metascore
    • 100 Owen Gleiberman
    It's a fluid cinematic essay, rooted in painstakingly assembled evidence, that heightens and cleanses your perceptions.
    • 74 Metascore
    • 100 Owen Gleiberman
    Munich, Steven Spielberg's spectacularly gripping and unsettling new movie, is a grave and haunted film, yet its power lies in its willingness to be a work of brutal excitement.
    • 63 Metascore
    • 100 Owen Gleiberman
    Of the idiosyncratic ''little'' movies that Soderbergh has made to clear his head (Full Frontal, Schizopolis), this is the first that truly connects.
    • 84 Metascore
    • 100 Owen Gleiberman
    The enthralling spirit of Dave Chappelle's Block Party, its mood of exuberant democracy, extends to every rap and soul performance in the film.
    • 67 Metascore
    • 100 Owen Gleiberman
    Russian Dolls captures how being a sexual cad has become an essential phase in the life of the modern male.
    • 66 Metascore
    • 100 Owen Gleiberman
    Maggie Gyllenhaal is such a miracle of an actress that she makes you respond to the innocence of Sherry's desperate, selfish destruction.
    • 86 Metascore
    • 100 Owen Gleiberman
    Brilliant and psychologically transfixing documentary.
    • 75 Metascore
    • 100 Owen Gleiberman
    Sweet Land is a movie of extraordinary tenderness, in which Reaser and Guinee, using a language of looks, make you happy to think about what love once might have been.
    • 73 Metascore
    • 100 Owen Gleiberman
    It's a poison bonbon tastier than just about anything else out there.
    • 75 Metascore
    • 100 Owen Gleiberman
    Nader became famous as a "consumer advocate," but as the thrilling first hour of An Unreasonable Man makes clear, that humdrum bureaucratic term didn't do justice to his courage, his vision.
    • 77 Metascore
    • 100 Owen Gleiberman
    Grindhouse, like "Ed Wood" and "Boogie Nights," celebrates how certain low-grade entertainment, viewed in hindsight, looks different now than it did then, since we can see the ''innocence'' of its creation -- the handmade quality of it -- in a world not yet ruled by corporate technology.
    • 72 Metascore
    • 100 Owen Gleiberman
    A love poem to the New York City of the '50s and '60s, when Smith, the visionary of camp (Andy Warhol stole from him), more or less invented performance art.
    • 75 Metascore
    • 100 Owen Gleiberman
    A wee romantic charmer, a delectable Dixie screwball romp that never loses its spry sense of discovery.
    • 83 Metascore
    • 100 Owen Gleiberman
    A funny and madly arresting new documentary.
    • 84 Metascore
    • 100 Owen Gleiberman
    In the Shadow of the Moon finds new resonance in the moment when America redefined progress -- but also when it heeded the siren song of a world so desolate it reminded you what a paradise ours truly is.
    • 65 Metascore
    • 100 Owen Gleiberman
    It's the first Hollywood Iraq movie to remind me of a Vietnam film like Coming Home, and it does more than disturb. It scalds, moves, and heals.
    • 81 Metascore
    • 100 Owen Gleiberman
    Between clips of the concerts Seeger staged as hootenanny hosannas, the film chronicles how the blacklisted star stuck true to his beliefs -- which were more patriotic than those of his accusers.
    • 82 Metascore
    • 100 Owen Gleiberman
    It's better than good; it's such a crackling and mature and accomplished movie that it just about restores your faith.
    • 84 Metascore
    • 100 Owen Gleiberman
    Mesmerizing.
    • 73 Metascore
    • 100 Owen Gleiberman
    I'm Not There lets you hear it again, more majestically than ever.
    • 62 Metascore
    • 100 Owen Gleiberman
    In Oswald's Ghost, his vast chronicle of the JFK assassination and its cultural aftermath, Stone uses little-seen footage to assemble the events of Nov. 22, 1963, with a fascinating present-tense density.
    • 66 Metascore
    • 100 Owen Gleiberman
    There's a poetic irony to the idea that it took a female filmmaker to finally do justice to Philip Roth on screen.
    • 67 Metascore
    • 100 Owen Gleiberman
    David Gordon Green's captivating winter-chill tragedy, is a tale that encompasses murder, divorce, adultery, alcohol abuse, mental breakdown, and the disappearance of a small child. In other words, it's downbeat enough to make the recent Oscar-nominated films look like party games.
    • 65 Metascore
    • 100 Owen Gleiberman
    Searing, powerful, and morally entangled.
    • 80 Metascore
    • 100 Owen Gleiberman
    The stunning images aren't enough for Herzog, though. He wants us to see how these quirky researchers, in their lust to explore, are acting out a drive as primitive as nature: the need to break away from the world in order to find it.
    • 70 Metascore
    • 100 Owen Gleiberman
    If they handed out an Academy Award for Most Gripping Graphs and Charts, this film would take it.
    • 76 Metascore
    • 100 Owen Gleiberman
    A movie as layered and enthralling as its subject.
    • 70 Metascore
    • 100 Owen Gleiberman
    A rapturous and enlightening look at the history of the environmental movement in America.

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