Owen Gleiberman
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For 2,348 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 6.3 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Once
Lowest review score: 0 Assisted Living
Score distribution:
2,348 movie reviews
    • 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.
    • 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.
    • 76 Metascore
    • 100 Owen Gleiberman
    The most resonant and haunting movie I've seen this year.
    • 83 Metascore
    • 100 Owen Gleiberman
    It's hard to think of the last time a Pixar film made you go ''Wow!'' That's part of why The LEGO Movie is such outrageous and intoxicating fun.
    • 66 Metascore
    • 100 Owen Gleiberman
    The Girlfriend Experience is one of Steven Soderbergh's bite-size, semi-improvised, shot-on-DV doodles (like Bubble or Full Frontal), and it's the best one he's made.
    • 100 Metascore
    • 100 Owen Gleiberman
    The Wizard of Oz remains the weirdest, scariest, kookiest, most haunting and indelible kid-flick-that's-really-for-adults ever made in Hollywood.
    • 82 Metascore
    • 100 Owen Gleiberman
    A deeply straightforward yet beautifully crafted documentary.
    • 76 Metascore
    • 100 Owen Gleiberman
    Bleak, brilliant, and unsparing.
    • 82 Metascore
    • 100 Owen Gleiberman
    A triumph -- Demme's finest work since "The Silence of the Lambs," and a movie that tingles with life.
    • 84 Metascore
    • 100 Owen Gleiberman
    Bold and brilliant.
    • 86 Metascore
    • 100 Owen Gleiberman
    Still the grandest of all science-fiction movies.
    • Entertainment Weekly
    • 42 Metascore
    • 100 Owen Gleiberman
    The movie is so hilariously sly about something so fetishistically trivial that at times it appears to take in an entire culture through a lens made of cheese.
    • 67 Metascore
    • 100 Owen Gleiberman
    This documentary about the triumph of the New Hollywood employs a treasure trove of interviews and clips to create a rich understanding of the many forces -- cultural undertows, really -- that flowed together to fill the void left by the dying studio system.
    • 73 Metascore
    • 100 Owen Gleiberman
    I'm Not There lets you hear it again, more majestically than ever.
    • 86 Metascore
    • 100 Owen Gleiberman
    The movie is grand and immersive. It plugs us into the final months of Lincoln's presidency with a purity that makes us feel transported as though by time machine.
    • 75 Metascore
    • 100 Owen Gleiberman
    A gripping documentary that uses voluminous period evidence — unedited news footage, tape recordings of SLA leader Cinque's rants — to brilliantly reconstruct the entire freak event.
    • 67 Metascore
    • 100 Owen Gleiberman
    It's the wildest screen comedy in a long time, and also the smartest, the most fearlessly inspired, and the snort-out-loud funniest.
    • 90 Metascore
    • 100 Owen Gleiberman
    Voluptuously engrossing.
    • 75 Metascore
    • 100 Owen Gleiberman
    A candy store for film buffs.
    • 95 Metascore
    • 100 Owen Gleiberman
    Farhadi is no mere formalist. His film is a spiritual investigation into the rise of women and the descent of male privilege in Iran, and a look at the toll that has taken. In a movie of flawless acting, it is Moadi - terse, proud, angry, haunted - who shows us that rare thing: a soul in transition.
    • 80 Metascore
    • 100 Owen Gleiberman
    Amy Adams in a performance as deep as it is delightful, is the film's heart and also its flaky, wonderstruck soul.
    • 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.
    • 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.
    • 82 Metascore
    • 100 Owen Gleiberman
    Pawlikowski has made a romance that becomes a horror movie in which love, more than anything around it, is a delusionary fever to fear.
    • 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.
    • 61 Metascore
    • 100 Owen Gleiberman
    Merrily outrageous, over-the-top fun.
    • 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.
    • 74 Metascore
    • 100 Owen Gleiberman
    At 88 minutes, Tabloid is short and sweet (it's pure movie candy), but by the end we've forged an emotional connection to Joyce McKinney at the deep core of her unapologetic fearless/nutty valor. And that's what really makes a great tabloid story: It's a vortex that's also a mirror.
    • 86 Metascore
    • 100 Owen Gleiberman
    The film is sublime entertainment, at once ticklish and suspenseful, cynical and sincere. By its very existence, Altman's comedy about the death of Hollywood lets you know that movies are still alive and kicking.

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