Owen Gleiberman
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For 2,349 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 5.9 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Trainspotting
Lowest review score: 0 The Order
Score distribution:
2,349 movie reviews
    • 72 Metascore
    • 91 Owen Gleiberman
    The movie is Mike's story, and Channing Tatum proves himself a true movie star. His Mike glides through the world with the ease of a god, and on stage he's electrifying.
    • 64 Metascore
    • 91 Owen Gleiberman
    Trekkies is hilarious, fascinating, and, at times, almost scary.
    • 59 Metascore
    • 91 Owen Gleiberman
    I will say that it's been a while since a romantic comedy mustered this much charm by looking this much like life.
    • 76 Metascore
    • 91 Owen Gleiberman
    You could describe Margin Call as a thriller (it's wired with suspense), yet the tension all comes from words.
    • 77 Metascore
    • 91 Owen Gleiberman
    If Linklater goes to a bit of an extreme here, it's in making both characters so intelligent and sincere, so ardent and giving, that they seem a little too good to believe.
    • 90 Metascore
    • 91 Owen Gleiberman
    Remains a majestic explosion of pure cinema. It's a hallucinatory poem of fear, projecting, in its scale and spirit, a messianic vision of human warfare stretched to the flashpoint of technological and moral breakdown.
    • 53 Metascore
    • 91 Owen Gleiberman
    Then there's Todd Solondz's Palindromes, which is that rare event: a memorable provocation.
    • 79 Metascore
    • 91 Owen Gleiberman
    A domestic tragedy of lacerating vision.
    • 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
    Directed by Tony Scott, Crimson Tide is the kind of sumptuously exciting undersea thriller that moves forward in quick, propulsive waves.
    • 79 Metascore
    • 91 Owen Gleiberman
    This one, as thoughtful as it is rousing, scores a TKO.
    • 80 Metascore
    • 91 Owen Gleiberman
    A richly tender and moving experience.
    • 84 Metascore
    • 91 Owen Gleiberman
    A fascinating film -- more docudrama than biopic.
    • 87 Metascore
    • 91 Owen Gleiberman
    Painfully beautiful autobiographical kaleidoscope.
    • 77 Metascore
    • 91 Owen Gleiberman
    Movie stars radiate a power -- physical, erotic, spiritual -- that draws an audience into their orbit. Yet watching Curtis Hanson's gritty and electrifying 8 Mile, the first thing you notice about Eminem, the most scaldingly powerful artist in pop music today, is how vulnerable he looks.
    • 59 Metascore
    • 91 Owen Gleiberman
    Told in a tricky flashback mode that's vivid even with a few too many temporal kinks, Don't Move is the sort of thing that Claude Chabrol was once praised for making with more pretension and a lot less less juice.
    • 58 Metascore
    • 91 Owen Gleiberman
    The film satirizes, and celebrates, an idea pivotal to both Hollywood and love: that in a world of impostors, the pretender with the most conviction can become exactly what he pretends to be.
    • 62 Metascore
    • 91 Owen Gleiberman
    It's not every day you get to see a movie that begins in satire and ends in reverence, but then, for Kevin Smith, they may ultimately be the same thing.
    • 83 Metascore
    • 91 Owen Gleiberman
    Has the resonance to stand not just as a terrific cartoon but as an emotionally pungent movie.
    • 84 Metascore
    • 91 Owen Gleiberman
    Sheridan, however, works with such piercing fervor and intelligence that In the Name of the Father just about transcends its tidy moral design.
    • 57 Metascore
    • 91 Owen Gleiberman
    It's not every comedy that can make you laugh with ridicule and cringe in empathetic horror at the same time.
    • 71 Metascore
    • 91 Owen Gleiberman
    Forget Devo, Nico, Bowie, or Beefheart: The most mesmerizing freak show in the history of rock & roll was Klaus Nomi.
    • 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.
    • 88 Metascore
    • 91 Owen Gleiberman
    Capote honors its subject by doing just what Truman Capote did. It teases, fascinates, and haunts.
    • 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.
    • 56 Metascore
    • 91 Owen Gleiberman
    He's a bombs-away provocateur, and in Religulous, Maher's blasphemous detonation of all things holy and scriptural, he doesn't really pretend to play fair. He's like Lenny Bruce with an inquiring mind and a video camera.
    • 94 Metascore
    • 91 Owen Gleiberman
    Nearly four decades ago, Pontecorvo anatomized the very form of modern terrorist warfare: the hidden cells, the cultish leaders, the brutish cycle of attack and counterattack.
    • 57 Metascore
    • 91 Owen Gleiberman
    Turns out to be a supple, intriguing, and beautifully staged movie. It features Dillon, in his most forceful performance since ''Drugstore Cowboy.''
    • 74 Metascore
    • 91 Owen Gleiberman
    Rouses you in conventional ways, but it's also the rare animated film that uses 3-D for its breathtaking spatial and emotional possibilities.
    • 63 Metascore
    • 91 Owen Gleiberman
    Harmony Korine's first ''mainstream'' movie, Spring Breakers, is by far the best thing he's ever done.

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