Owen Gleiberman
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For 2,347 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 6.4 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Girl with the Dragon Tattoo
Lowest review score: 0 Down to You
Score distribution:
2,347 movie reviews
    • 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.
    • 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.
    • 75 Metascore
    • 100 Owen Gleiberman
    Easy Money is not merely an early-career curiosity. It's one of the best underworld films I've seen in years, and Kinnaman gives a fantastic performance in it.
    • 80 Metascore
    • 100 Owen Gleiberman
    A succulently entertaining movie that invites you to splash around in the dreams and follies of folks so rich they're the 1 percent of the 1 percent. It's like a champagne bath laced with arsenic.
    • 81 Metascore
    • 100 Owen Gleiberman
    The Chinese artist and activist Ai Weiwei has achieved a prominence that makes him, in effect, the Aleksandr Solzhenitsyn of the Twitter age. He's also the least stuffy of dissidents, and Alison Klayman's stirring, important documentary catches his complex humanity.
    • 82 Metascore
    • 100 Owen Gleiberman
    It's a lesson in character to hear directors from David Lynch (digital believer) to Christopher Nolan (celluloid diehard) spout off.
    • 79 Metascore
    • 100 Owen Gleiberman
    Lindhardt, sweet and childish and achingly vulnerable, gives a stunning performance.
    • 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.
    • 86 Metascore
    • 100 Owen Gleiberman
    Argo is never less than wildly entertaining, but a major part of its power is that it so ominously captures the kickoff to the world we're in now.
    • 77 Metascore
    • 100 Owen Gleiberman
    David Simon, creator of "The Wire," who argues that the targeting of minorities, fused with mandatory sentencing, has turned the war on drugs into ''a holocaust in slow motion.''
    • 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.
    • 64 Metascore
    • 100 Owen Gleiberman
    Killing them Softly is a lurid and nasty little nihilistic hitman noir, with an ingenuity that sneaks up on you.
    • 51 Metascore
    • 100 Owen Gleiberman
    Most of us consider Marilyn Monroe a born star with modest acting skills, but Love, Marilyn deepens the argument that the ditzy, dim-bulb ''Marilyn'' was every inch a performance, and a brilliant one.
    • 95 Metascore
    • 100 Owen Gleiberman
    Once in a long while, a fresh-from-the-headlines movie - like "All the President's Men" or "United 93" - fuses journalism, procedural high drama, and the oxygenated atmosphere of a thriller into a new version of history written with lightning. Zero Dark Thirty, Kathryn Bigelow's meticulous and electrifying re-creation of the hunt for Osama bin Laden, is that kind of movie.
    • 94 Metascore
    • 100 Owen Gleiberman
    In Amour, these two actors show us what love is, what it really looks like, and what it may, at its most secret moments, demand.
    • 86 Metascore
    • 100 Owen Gleiberman
    This story of a 12-year-old boy who drops through the net of middle-class life invites us-in each shimmering frame-to gaze upon the world with a child's freshly awakening vision.
    • 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.
    • 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.
    • 94 Metascore
    • 100 Owen Gleiberman
    Before Midnight confounds expectations in powerful and even haunting ways. It's not just darker than the previous two films. It's bigger, deeper, and more searching. It follows the characters through a tale of embattled love that extends far beyond them.
    • 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.
    • 85 Metascore
    • 100 Owen Gleiberman
    Fruitvale Station is great political filmmaking because it's great filmmaking, period.
    • 78 Metascore
    • 100 Owen Gleiberman
    The movie is rich with class tension, and if Allen nails the moods of the wealthy, he also gets surprising, dynamic performances from Hawkins, Cannavale, and Andrew Dice Clay as the folks who have no money but may have a fuller sense of what life is.
    • 82 Metascore
    • 100 Owen Gleiberman
    Brie Larson, as the caring but tormented Grace (who's pregnant and doesn't know if she has the faith to have her baby), and John Gallagher Jr., as her gentle-dweeb fellow worker Mason (who fears his love can't save her), show you what emotionally naked acting is all about.
    • 74 Metascore
    • 100 Owen Gleiberman
    The thriller that's exciting, cathartic, and powerfully disturbing. Prisoners is that type of movie. It's rooted in 40 years of Hollywood revenge films, yet it also breaks audacious new ground.
    • 96 Metascore
    • 100 Owen Gleiberman
    The miracle of the movie is the way that director Alfonso Cuarón, using special effects and 3-D with a nearly poetic simplicity and command, places the audience right up there in space along with them.
    • 97 Metascore
    • 100 Owen Gleiberman
    It's Ejiofor's extraordinary performance that holds 12 Years a Slave together.
    • 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.
    • 90 Metascore
    • 100 Owen Gleiberman
    It's a film of jaw-dropping virtuosity and pleasure, one that leaves you revved, enthralled, tickled, moved, and amazed.
    • 76 Metascore
    • 100 Owen Gleiberman
    An exquisitely fun documentary.
    • 85 Metascore
    • 100 Owen Gleiberman
    The Past, is hugely ambitious — it's Farhadi seizing his moment — yet it's also a wrenchingly intimate tale of lives torn asunder by forces within and without them.

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