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 Zero Dark Thirty
Lowest review score: 0 Best Laid Plans
Score distribution:
2,337 movie reviews
    • 58 Metascore
    • 100 Owen Gleiberman
    No dramatic feature has ever come quite this close to the matter-of-fact ugliness of the Nazi crimes.
    • 82 Metascore
    • 100 Owen Gleiberman
    Lean, elegant, and emotionally complex -- a marvel of backwoods classicism.
    • 77 Metascore
    • 100 Owen Gleiberman
    It reveals Bukowski to be a far grander artist than his bum's armor would suggest.
    • 54 Metascore
    • 100 Owen Gleiberman
    Sensational and accomplished.
    • 82 Metascore
    • 100 Owen Gleiberman
    A great, searching, incendiary chronicle of the Sex Pistols, the razor-hearted visionaries of punk anarchy.
    • 94 Metascore
    • 100 Owen Gleiberman
    In E.T., Spielberg proved a herald of the age when moviegoers would make full-time friends with fantasy, but his most special effect was taking us into ourselves.
    • 86 Metascore
    • 100 Owen Gleiberman
    The movie is pulp, yet it attains a surprising emotional power-especially when Anjelica Huston's Lilly, a survivor who'll do whatever it takes to master her surroundings, is on-screen.
    • 81 Metascore
    • 100 Owen Gleiberman
    A movie that re-creates its object of satire with such pitch-perfect flair that it all but erases the line between derision and love.
    • 81 Metascore
    • 100 Owen Gleiberman
    Like David Lynch, Quentin Tarantino, and Paul Thomas Anderson, Solondz revels in ironic pop passion. It's a signature moment when he transforms Air Supply's "All Out of Love" into a geek-love rhapsody.
    • 61 Metascore
    • 100 Owen Gleiberman
    Harrison Ford as the President of the United States is such a perfect piece of casting that it's at once a fantasy and a joke: The joke is how perfect the fantasy is. [25 Jul 1997, p. 48]
    • 74 Metascore
    • 100 Owen Gleiberman
    A delicate yet haunting movie, a meditation on friendship, on the roots of bohemianism, on the sad comedy of madness.
    • 73 Metascore
    • 100 Owen Gleiberman
    Presents Glass as a masterfully corrupt fabulist who convinced himself of the ultimate seductive lie, which is that there can't be anything wrong with telling people what they want to hear.
    • 81 Metascore
    • 100 Owen Gleiberman
    All in all, Blood Simple looks better than ever.
    • 90 Metascore
    • 100 Owen Gleiberman
    It's a mad cycle of arrogance and despair, and Bloody Sunday etches it onto your nervous system.
    • 83 Metascore
    • 100 Owen Gleiberman
    It would be hard to imagine a movie about drugs, depravity, and all-around bad behavior more electrifying than Trainspotting.
    • 80 Metascore
    • 100 Owen Gleiberman
    The movie version, directed with unobtrusive precision by James Foley, stays amazingly true to the play's feisty spirit.
    • 71 Metascore
    • 100 Owen Gleiberman
    Disciplined script -- bitingly funny.
    • 83 Metascore
    • 100 Owen Gleiberman
    The rare movie that turns cruelty into art.
    • 72 Metascore
    • 100 Owen Gleiberman
    Go
    The one truly thrilling movie I've seen so far this year.
    • 87 Metascore
    • 100 Owen Gleiberman
    The richest and most satisfying romantic movie of the year. It's really about two great loves at once -- the love of life and of art -- and the way that Shakespeare, like no writer before him, transformed the one into the other.
    • 90 Metascore
    • 100 Owen Gleiberman
    Leaves you shaken and ecstatic at the same time, transported by the vision of a major film artist.
    • 66 Metascore
    • 100 Owen Gleiberman
    The beauty of Two Girls and a Guy is that it presents us with a hero so craven, so indefensible in his duplicity, that his twin victims leapfrog past vengeance into an almost physical state of curiosity.
    • 80 Metascore
    • 100 Owen Gleiberman
    As tricky and satisfying as any of David Mamet's airless cinematic shell games. Mamet's films are all plot and no atmosphere; this one has a squalid, urban-greed-meets-the-gutter mood that lends its filigreed cleverness an unusually resonant kick.
    • 84 Metascore
    • 100 Owen Gleiberman
    Bold and brilliant.
    • 77 Metascore
    • 100 Owen Gleiberman
    An existential chain reaction, yet as remarkable as his cinematic gamesmanship is the way that he traces the anatomy of feeling in Lola.
    • 79 Metascore
    • 100 Owen Gleiberman
    As he rises to each challenge, you realize that von Trier, the most exalted of prankish sadists, has orchestrated the filmmaking equivalent of the story of Job. The Five Obstructions glories in art, life, and the faith that binds them.
    • 80 Metascore
    • 100 Owen Gleiberman
    A bold, searching, wrenching experience. It may be the most complexly impassioned message movie Hollywood has ever made.
    • 90 Metascore
    • 100 Owen Gleiberman
    A movie of staggering virtuosity and raw lyric power, a masterpiece of terror, chaos, blood, and courage.
    • 86 Metascore
    • 100 Owen Gleiberman
    It's Swank, however, who's the revelation. By the end, her Brandon/Teena is beyond male or female. It's as if we were simply glimpsing the character's soul, in all its yearning and conflicted beauty.
    • 74 Metascore
    • 100 Owen Gleiberman
    One of the most revelatory rock portraits ever made.