Owen Gleiberman

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For 2,482 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 The Grey Zone
Lowest review score: 0 Penelope
Score distribution:
2482 movie reviews
    • 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.
    • 80 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.
    • 85 Metascore
    • 100 Owen Gleiberman
    Mark Wahlberg, in a star-making performance, has the kind of electric ingenuousness that John Travolta did in "Saturday Night Fever."
    • 79 Metascore
    • 100 Owen Gleiberman
    She's a teller of hilarious gutbucket truths as surely as Lenny Bruce and Richard Pryor ever were. Yet while they were consumed by their demons, Rivers is just the opposite.
    • 72 Metascore
    • 100 Owen Gleiberman
    Into Darkness is a sleek, thrilling epic that's also a triumphantly witty popcorn morality play. It's everything you could want in a Star Trek movie.
    • 75 Metascore
    • 100 Owen Gleiberman
    A wee romantic charmer, a delectable Dixie screwball romp that never loses its spry sense of discovery.
    • 83 Metascore
    • 100 Owen Gleiberman
    With its virtuoso tomfoolery, Fantastic Mr. Fox is like a homegrown Wallace and Gromit caper. To Wes Anderson: More, please!
    • 65 Metascore
    • 100 Owen Gleiberman
    A voyeur's delight.
    • 83 Metascore
    • 100 Owen Gleiberman
    Raimi has made the most crazy, fun, and terrifying horror movie in years.
    • 79 Metascore
    • 100 Owen Gleiberman
    Awesome documentary.
    • 76 Metascore
    • 100 Owen Gleiberman
    Down to the Bone achieves what only the best independent films have: making life, at its most unvarnished, a journey.
    • 64 Metascore
    • 100 Owen Gleiberman
    Nimble, engrossing, and journalistically eye-opening, a movie that pulls into focus 30 years of porn in America. It also pulls no punches.
    • 74 Metascore
    • 100 Owen Gleiberman
    Stone takes his characters right over the top, rubbing our noses in our own lust for excess, and some viewers are bound to say that he's gone too far. Yet this may be one case where too far is just far enough-where a gifted filmmaker has transformed his own attraction to violence into an art of depraved catharsis.
    • 73 Metascore
    • 100 Owen Gleiberman
    A deliciously amusing socio-culinary prank.
    • 70 Metascore
    • 100 Owen Gleiberman
    If they handed out an Academy Award for Most Gripping Graphs and Charts, this film would take it.
    • 90 Metascore
    • 100 Owen Gleiberman
    The most excitingly original movie of the year.
    • 75 Metascore
    • 100 Owen Gleiberman
    For sheer dramatic wallop outpowers virtually every fiction feature I've seen this year.
    • 96 Metascore
    • 100 Owen Gleiberman
    It's Ejiofor's extraordinary performance that holds 12 Years a Slave together.
    • 84 Metascore
    • 100 Owen Gleiberman
    In the Shadow of the Moon finds new resonance in the moment when America redefined progress -- but also when it heeded the siren song of a world so desolate it reminded you what a paradise ours truly is.
    • 65 Metascore
    • 100 Owen Gleiberman
    It's the first Hollywood Iraq movie to remind me of a Vietnam film like Coming Home, and it does more than disturb. It scalds, moves, and heals.
    • 87 Metascore
    • 100 Owen Gleiberman
    This is Robert Redford doing what too many stars should do and don't: taking a chance. And reinventing his art. It's an extraordinary thing to see.
    • 70 Metascore
    • 100 Owen Gleiberman
    A no-frills docu-Dogma plainness, yet Miller lingers on invisible, nearly psychic nuances, leaping into digressions of memory and desire. She boxes these women's souls right open for us.
    • 76 Metascore
    • 100 Owen Gleiberman
    A movie as layered and enthralling as its subject.
    • 87 Metascore
    • 100 Owen Gleiberman
    Brokeback Mountain is that rare thing, a big Hollywood weeper with a beautiful ache at its center. It's a modern-age Western that turns into a quietly revolutionary love story.
    • 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.

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