For 2,337 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 6.7 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
Average review score: 66
Highest review score: 100 Anvil! The Story of Anvil
Lowest review score: 0 Best Laid Plans
Score distribution:
2,337 movie reviews
    • 77 Metascore
    • 91 Owen Gleiberman
    The scary culminating flashback, in which Stephanie gives birth -- in a public restroom, on a high school ski trip -- is a marvel of authentic disturbance.
    • 66 Metascore
    • 91 Owen Gleiberman
    Anthology films usually work better in theory than execution, but this feature parade of shorts is a blithe, worldly, and enchanting exception.
    • 72 Metascore
    • 91 Owen Gleiberman
    JFK
    [Stone's] filmmaking is so supple and alive, his obsession with the visual aspect of history so electrifying, that JFK practically roots itself in your imagination.
    • 71 Metascore
    • 91 Owen Gleiberman
    There's a slightness to Postcards From the Edge, and a little too much satirical self-help jargon (the story is all about how Suzanne learns to like herself). But the movie captures — and celebrates — how easy it is to turn your problems into show biz.
    • 62 Metascore
    • 91 Owen Gleiberman
    In a world ruled by process, is compassion still real? Or is it just another scam? In Ocean's Thirteen, it is deviously, and merrily, both.
    • 69 Metascore
    • 91 Owen Gleiberman
    The tale itself is so spectacularly perverse, and the film stays so authentically close to the personalities involved, that you don't feel dirty -- you feel cleansed.
    • 53 Metascore
    • 91 Owen Gleiberman
    It's the rare portrait of a happy marriage that is honest about the complex currents of desire, and the drama is beautifully played by Bale, who gawks with soulful sweetness, and Watson, who does her most piercing work since "Breaking the Waves."
    • 64 Metascore
    • 91 Owen Gleiberman
    Any doubts as to whether Sienna Miller is a gifted actress should be laid to rest by Interview.
    • 69 Metascore
    • 91 Owen Gleiberman
    A rowdy, richly offbeat biopic.
    • 81 Metascore
    • 91 Owen Gleiberman
    A fizzy and delirious high-camp message-movie musical that may just turn out to be the happiest movie of the summer.
    • 85 Metascore
    • 91 Owen Gleiberman
    A spectacular windup toy of a thriller -- a contraption made by an artist.
    • 80 Metascore
    • 91 Owen Gleiberman
    A spooky, moving documentary.
    • 72 Metascore
    • 91 Owen Gleiberman
    A terrific, small, funny, sad movie.
    • 73 Metascore
    • 91 Owen Gleiberman
    The beauty of Into the Wild, which Penn has written and directed with magnificent precision and imaginative grace, is that what Christopher is running from is never as important as what he's running TO.
    • 65 Metascore
    • 91 Owen Gleiberman
    A nimble and supple and moving comedy.
    • 54 Metascore
    • 91 Owen Gleiberman
    Agreeably skewed fun.
    • 70 Metascore
    • 91 Owen Gleiberman
    Aaron Woolf's we-are-what-we-eat documentary King Corn is a lively introduction to the corn industrial complex.
    • 78 Metascore
    • 91 Owen Gleiberman
    Andrew Wagner has made a lovely comedy of death and rebirth.
    • 83 Metascore
    • 91 Owen Gleiberman
    The 3-D visuals envelop you, majestically, and that effect fuses with the band's surround-sound rapture to create a full-scale sensory high. U2 3D makes you feel stoned on movies.
    • 69 Metascore
    • 91 Owen Gleiberman
    One of the pleasures of The Bank Job is that it returns us to the days when robbing a bank was a gritty, hole-in-the-wall affair.
    • 59 Metascore
    • 91 Owen Gleiberman
    The film says that the U.S. immigrant situation is untenable, but then it forces US to ask: What should be done?
    • 70 Metascore
    • 91 Owen Gleiberman
    Morris, using a welter of photographs (many of which we haven't seen), constructs a day-to-day sense of how Abu Ghraib descended into a medieval hell.
    • 85 Metascore
    • 91 Owen Gleiberman
    Hopping from Germany to Turkey and back again, Akin is out to capture the ways that a globalized world can tear up our hearts, and repair them, too.
    • 80 Metascore
    • 91 Owen Gleiberman
    Bigger, Stronger, Faster is a portrait of a culture that claims to hate steroids but may, by now, be too pumped to do much about it.
    • 73 Metascore
    • 91 Owen Gleiberman
    Light and goofy, yet the fight scenes, which are the heart of the film, are lickety-split mad fun.
    • 82 Metascore
    • 91 Owen Gleiberman
    At two hours and 32 minutes, this is almost too much movie, but it has a malicious, careening zest all its own. It's a ride for the gut AND the brain.
    • 73 Metascore
    • 91 Owen Gleiberman
    The movie also captures Thompson's tragedy: the haze of drugs and bad writing that consumed him for no less than his last 30 years.
    • 82 Metascore
    • 91 Owen Gleiberman
    Tell No One's plot thickens in about five ways at once, but they're all connected. The issue of how is a riddle that does more than tease --gives you an itch you won't want to stop scratching.
    • 39 Metascore
    • 91 Owen Gleiberman
    Anyone who thinks that Josh Hartnett isn't a true movie star should see his riveting, high-wire performance in August.
    • 82 Metascore
    • 91 Owen Gleiberman
    A tale of ordinary Americans scraping bottom, yet there's a redemption in that. The film asks: If you were this desperate, wouldn't you do the same?