Owen Gleiberman

Select another critic »
For 2,495 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 4.5 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Argo
Lowest review score: 0 Even Cowgirls Get the Blues
Score distribution:
2495 movie reviews
    • 75 Metascore
    • 91 Owen Gleiberman
    A sprightly, lovingly researched, rather misty-eyed sports documentary that's steeped in ethnic pride.
    • 71 Metascore
    • 91 Owen Gleiberman
    On the eve of Wuornos' 2002 execution, Broomfield digs deep into her abusive hell of a background (beatings, incest, sleeping homeless in the frozen Michigan woods) as well as her quasi-psychotic defense mechanisms.
    • 90 Metascore
    • 91 Owen Gleiberman
    The Passenger isn't finally the masterpiece some have made it out to be, but it retains a singular intrigue: It's the first, and probably the last, thriller ever made about depression.
    • 51 Metascore
    • 91 Owen Gleiberman
    Acting doesn't get more personal, or much greater.
    • 70 Metascore
    • 91 Owen Gleiberman
    Hoffman plays Dan Mahowny's addiction to instant money as something dirty and private and, at the same time, soul-quickening.
    • 80 Metascore
    • 91 Owen Gleiberman
    The nature of silent comedy was to elevate its heroes into myths, but after ''Charlie'' I can't wait to see Chaplin's movies again, this time to glimpse the man on the other side of the icon.
    • 63 Metascore
    • 91 Owen Gleiberman
    The Great Buck Howard is in love with kitsch, the backwaters of showbiz, and true magic. It's a wee charmer that left me enchanted.
    • 78 Metascore
    • 91 Owen Gleiberman
    Godzilla is still the most awesome of tacky movie monsters.
    • 49 Metascore
    • 91 Owen Gleiberman
    In the end, the most impressive performance may be Spike Lee's. He uses skill without gimmickry, flash without fuss, to tap the mesmerizing soul of this pulp.
    • 86 Metascore
    • 91 Owen Gleiberman
    A movie of tough excitement and surprise, even grace.
    • 66 Metascore
    • 91 Owen Gleiberman
    On the Outs parses the hopes and terrors of blasted lives with an empathy that never cheapens into pity. The movie wounds as much as it heals, and that's its true power.
    • 82 Metascore
    • 91 Owen Gleiberman
    The end will haunt you.
    • 54 Metascore
    • 91 Owen Gleiberman
    Agreeably skewed fun.
    • 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.

Top Trailers