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 A Hard Day's Night (re-release)
Lowest review score: 0 Crime and Punishment in Suburbia
Score distribution:
2,348 movie reviews
    • 65 Metascore
    • 100 Owen Gleiberman
    Along the way, Black Dynamite blends satire, nostalgia, and cinema deconstruction into a one-of-a-kind comedy high.
    • 78 Metascore
    • 100 Owen Gleiberman
    Fred Leuchter is just one deluded figure, but by the end of this great and chilling sick-joke documentary he stands as a living icon of the banality of evil.
    • 64 Metascore
    • 100 Owen Gleiberman
    He (Spurlock) takes Comic-Con seriously. He talks to Kevin Smith, Harry Knowles, and other famous grown-up geeks, but mostly he follows a handful of people whose dream it is to pass through the fan/professional looking glass and carve out a place for themselves in the industry of fantasy.
    • 67 Metascore
    • 100 Owen Gleiberman
    The movie is tough-minded: It zeroes in on Patrick's anger at dating a closeted football star, and it doesn't let Charlie off the hook for his cruelty or self-pity.
    • 77 Metascore
    • 100 Owen Gleiberman
    Ulee's Gold is a story of redemption, and Nunez doesn't make redemption look any easier than it is.
    • 85 Metascore
    • 100 Owen Gleiberman
    An exhilarating hall-of-mirrors look at what happens when global art fame turns anonymous, artists become objects, fans turn into artists, and the whole what's-sincere-and-what's-a-sham spectacle is more fun than art was ever supposed to be.
    • 69 Metascore
    • 100 Owen Gleiberman
    Beautifully edited, Go Tigers! is an enthralling look at the drama that can transpire in the autumn of one small town on any given Friday.
    • 63 Metascore
    • 100 Owen Gleiberman
    Of the idiosyncratic ''little'' movies that Soderbergh has made to clear his head (Full Frontal, Schizopolis), this is the first that truly connects.
    • 72 Metascore
    • 100 Owen Gleiberman
    Those Oompa-Loompas are the beat, and soul, of Burton's finest movie since "Ed Wood": a madhouse kiddie musical with a sweet-and-sour heart.
    • 58 Metascore
    • 100 Owen Gleiberman
    Jim Carrey's performance is an impersonation on the level of genius.
    • 80 Metascore
    • 100 Owen Gleiberman
    Room 237 makes perfect sense of "The Shining" because, even more than "The Shining" itself, it places you right inside the logic of how an insane person thinks.
    • 84 Metascore
    • 100 Owen Gleiberman
    This is the rare movie that gets you to fall in love with characters you don't even like.
    • 80 Metascore
    • 100 Owen Gleiberman
    Remains the only rock & roll film that exerts the saturnine intensity of a thriller.
    • 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.
    • 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.
    • 93 Metascore
    • 100 Owen Gleiberman
    Spielberg restages the Holocaust with an existential vividness unprecedented in any nondocumentary film: He makes us feel as if we're living right inside the 20th century's darkest-and most defining-episode.
    • 47 Metascore
    • 100 Owen Gleiberman
    Someone has finally done it -- made a sexually explicit feature that is also a genuine and harrowing work of erotic drama.
    • 89 Metascore
    • 100 Owen Gleiberman
    Ferguson spotlights two massive mistakes: the looting that was allowed to continue, destroying Iraqi infrastructure and morale; and--far more revelatory -- the apocalyptically stupid decision to disband the Iraqi army, sending half a million angry soldiers into the streets.
    • 72 Metascore
    • 100 Owen Gleiberman
    A love poem to the New York City of the '50s and '60s, when Smith, the visionary of camp (Andy Warhol stole from him), more or less invented performance art.
    • 97 Metascore
    • 100 Owen Gleiberman
    It becomes as savage as ''Reservoir Dogs,'' ''The Killing,'' or any of the other dozens of films over which it still casts a shadow.
    • 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.
    • 76 Metascore
    • 100 Owen Gleiberman
    True art is a journey to somewhere you've never been, and there has never been a movie quite like Breaking the Waves.
    • 58 Metascore
    • 100 Owen Gleiberman
    No dramatic feature has ever come quite this close to the matter-of-fact ugliness of the Nazi crimes.
    • 84 Metascore
    • 100 Owen Gleiberman
    Beautiful, wise, and poker-faced comedy of discombobulation.
    • 66 Metascore
    • 100 Owen Gleiberman
    The film is at times harrowing to watch, yet it's also wry and delicate and absorbing. It's infused with the messy excitement of imperfect passion.
    • 70 Metascore
    • 100 Owen Gleiberman
    It's cleansing to see the facts laid out with intimacy and rigor, and the film earns the comparison it makes to the squelching of due process for some of today's terror suspects.
    • 81 Metascore
    • 100 Owen Gleiberman
    Relaunches the series by doing something I wouldn't have thought possible: It turns Bond into a human being again -- a gruffly charming yet volatile chap who may be the swank king stud of the Western world, but who still has room for rage, fear, vulnerability, love.
    • 76 Metascore
    • 100 Owen Gleiberman
    Offers terrific interviews with the surviving Funk Brothers, who provide a tasty insider history of 4 a.m. recording sessions inside ''the snake pit'' (as the fabled Studio A was known) as well as a chilling description of their final kiss-off from Berry Gordy, the Motown mogul who treated them like indentured servants.
    • 82 Metascore
    • 100 Owen Gleiberman
    Lean, elegant, and emotionally complex -- a marvel of backwoods classicism.
    • 73 Metascore
    • 100 Owen Gleiberman
    Ghost Protocol brims with scenes that are exciting and amazing at the same time; they're brought off with such casual aplomb that they're funny, too.

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