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
    • 41 Metascore
    • 33 Owen Gleiberman
    Has all the mood enhancing flavor of a tropical cocktail made with watered down rum and fake fruit juice.
    • 46 Metascore
    • 33 Owen Gleiberman
    How lame have high-concept, no-brain comedies gotten?
    • 12 Metascore
    • 33 Owen Gleiberman
    The Avengers is too enervated to qualify as even a full-scale disaster.
    • 21 Metascore
    • 33 Owen Gleiberman
    Few comedies have worked this hard to make everyone on screen look this dumb.
    • 12 Metascore
    • 33 Owen Gleiberman
    The movie doesn't so much extend Schwartzman's antic outsider persona from ''Rushmore'' as uglify it, reducing him to the ultimate Uncool Anti-WASP.
    • 23 Metascore
    • 33 Owen Gleiberman
    It just makes you want to flip on the tube to see the real (fake) thing.
    • 38 Metascore
    • 33 Owen Gleiberman
    The Medallion makes you long for Tucker -- and for Jackie Chan to fly without digital wings.
    • 18 Metascore
    • 33 Owen Gleiberman
    If you've always longed to see a Cold War satire done in the hit 'em over the head frantic camp mode of ''Love, American Style,'' then Company Man is the movie for you.
    • 18 Metascore
    • 33 Owen Gleiberman
    This rusty jalopy of a movie, which is so ramshackle it's nearly enough to make you forget how tossed-together the 1976 ''Car Wash'' was.
    • 38 Metascore
    • 33 Owen Gleiberman
    Tells a moldy-oldie, not-nearly-as-nasty-as-it-thinks-it-is joke. Over and over again.
    • 32 Metascore
    • 33 Owen Gleiberman
    It's hard to say what's more excruciating: Alex's novel, which is like ''The Great Gatsby'' rewritten by Lizzie McGuire, or his quarrelsome flirtation with Emma, who has no existence as a character apart from her drive to reshape Alex into a specimen of respectable tamed manhood.
    • 32 Metascore
    • 33 Owen Gleiberman
    It was originally called ''Animal Husbandry,'' and while the producers were throwing away that title, they might have done well to chuck the movie along with it.
    • 27 Metascore
    • 33 Owen Gleiberman
    Bland to dismal.
    • 24 Metascore
    • 33 Owen Gleiberman
    Jean-Claude Van Damme's latest dud.
    • 30 Metascore
    • 33 Owen Gleiberman
    Bloodless and false.
    • 45 Metascore
    • 33 Owen Gleiberman
    If Crowe's eyes are open, he seems to have directed most of Vanilla Sky with his mind wide shut.
    • 34 Metascore
    • 33 Owen Gleiberman
    Tame and witless enough to make me long for the ancient, dusty fright kitsch of ''The Munsters.''
    • 41 Metascore
    • 33 Owen Gleiberman
    The movie is a true folly, yet there's no denying that Gilliam has gotten some of the hallucinogenic madness of Thompson's novel on screen.
    • 55 Metascore
    • 33 Owen Gleiberman
    The film is proof that if you repackage the classics (in this case, Dickens) for the youth market in an era of MTV dislocation, what you get, in essence, is postmodern Cliffs Notes with an alt-rock soundtrack.
    • 35 Metascore
    • 33 Owen Gleiberman
    Van Helsing, a fusion of eye candy and brain sputter, is a long, kinetic, yet dreary mess.
    • 19 Metascore
    • 33 Owen Gleiberman
    "Species" at least had the benefit of Henstridge's glazed porn-doll perversity, but this time any glimmers of sexual ominousness are buried in a lame, desultory chase plot and in the woefully underimagined special effects.
    • 40 Metascore
    • 33 Owen Gleiberman
    Stuart Townsend, Theron's reallife boyfriend, may have inner fires as an actor that have yet to be revealed, but in Head in the Clouds he's a somber puppy who looks as if Theron could eat him alive. I wish she had.
    • 22 Metascore
    • 33 Owen Gleiberman
    In its hostile sitcom way, Christmas With the Kranks is a paranoid comic nightmare of conformity gone mad.
    • 33 Metascore
    • 33 Owen Gleiberman
    Lawrence is so ON that he appears to be gunning for clockwork bursts of audience approval.
    • 24 Metascore
    • 33 Owen Gleiberman
    It takes the movie all of 15 minutes to descend into sub-Spielbergian banalities about poor Max's search for his absentee dad.
    • 31 Metascore
    • 33 Owen Gleiberman
    Adam Sandler stars in a one-joke Caddyshack for the blitzed and jaded.
    • 30 Metascore
    • 33 Owen Gleiberman
    A yawn-by-numbers romper-room dud.
    • 33 Metascore
    • 33 Owen Gleiberman
    Most of The Man is as awful as last year's debacle, "Taxi," yet Levy, stuck in a no-brainer variation on Billy Crystal's predicament in "Analyze This," shows just enough noodgy passive-aggression to suggest what the movie might have been were it not shackled to buddy-action clichés.
    • 38 Metascore
    • 33 Owen Gleiberman
    The director, Nora Ephron, displays her peerless gift for making everything seem snappy and mushy at the same time, and Travolta's performance has a slovenly, I-can-do-anything-and-you'll-still-love-me obnoxiousness.
    • 27 Metascore
    • 33 Owen Gleiberman
    Asia Argento is not what I would call a good actress, but she's a prime specimen of train-wreck sexuality: a debauched Eurotrash starlet who oozes punk cred more than she does talent. It's not too hard to see why she wanted to write, direct, and star in The Heart Is Deceitful Above All Things.
    • 55 Metascore
    • 33 Owen Gleiberman
    Antonio Banderas is a charming and talented man, but in Take the Lead he lays on the old-world panache so thick - the accent, the flowery courtliness, the romance of romance - that he comes off like Dracula's metrosexual cousin.
    • 30 Metascore
    • 33 Owen Gleiberman
    A few of the images are startling, but as Radha Mitchell (a good actress) wanders through a ghost town, searching for her lost daughter as though she was touring an abandoned movie set, Silent Hill is mostly paralyzing in its vagueness.
    • 29 Metascore
    • 33 Owen Gleiberman
    Even in her dullest vehicle, Lindsay Lohan exudes an unfakable shine.
    • 52 Metascore
    • 33 Owen Gleiberman
    You can see what the film was going for, but the jokes just sit there; you chuckle a few times, mostly out of lame hope, but you never bust a gut, never really get what you came for.
    • 36 Metascore
    • 33 Owen Gleiberman
    At least Ribisi's fake-cojones histrionics are fun. The rest of this "Donnie Brasco" knockoff, with James Marsden as a Gulf War veteran who goes undercover, is a turgid, ketchup-spattered dud.
    • 36 Metascore
    • 33 Owen Gleiberman
    The results in Employee of the Month are toothless.
    • 62 Metascore
    • 33 Owen Gleiberman
    Since there is a mystery, the movie might have been entertaining camp had director Taylor Hackford staged it with pace, style, or a whisper of surprise. Instead, the plot just clunks forward-for two hours and 10 minutes.
    • 36 Metascore
    • 33 Owen Gleiberman
    No belief on earth can rescue Swank from a film that's a chain of disaster chintz masquerading as a sermon.
    • 45 Metascore
    • 33 Owen Gleiberman
    I Love You to Death is strenuously unclever.
    • 16 Metascore
    • 33 Owen Gleiberman
    Though not quite the fiasco of revved-up gunplay that Beverly Hills Cop II was, this new movie, directed by John ''Rock-'em Sock-'em'' Landis, is just a clunky action thriller, with occasional comic moments rationed out to the audience like stray crumbs.
    • 33 Metascore
    • 33 Owen Gleiberman
    The movie has no script, and even the better gags - like one in which a couple of the pilots scribble away at coloring books in the backseat of a plane - could have been staged more vividly.
    • 36 Metascore
    • 33 Owen Gleiberman
    He now imparts so many life lessons via his Rube Goldberg thresher devices that he's starting to turn into the Rod Serling of severed body parts. Now that's torture.
    • 52 Metascore
    • 33 Owen Gleiberman
    For all of De Palma's studious multimedia trickery -- a valid, even inspired idea -- Redacted is so naive it's an embarrassment.
    • 46 Metascore
    • 33 Owen Gleiberman
    CJ7
    Trivial and charmless.
    • 7 Metascore
    • 33 Owen Gleiberman
    The Farrelly brothers could burp out a movie funnier than The Hottie & the Nottie, a farce of corrupt stereotypes that's never more grotesque than when it pretends to be more than skin-deep.
    • 47 Metascore
    • 33 Owen Gleiberman
    This one is just murk.
    • 35 Metascore
    • 33 Owen Gleiberman
    The premise is out of '70s porn, and so is the overbroad satire and almost total lack of conviction.
    • 24 Metascore
    • 33 Owen Gleiberman
    Myers is trying for another of his endearingly hormonal imp-egomaniacs, but hidden behind a wavy beard, a wax-curled mustache, and an astoundingly ugly squashed fake nose, he's a little too grotesque.
    • 57 Metascore
    • 33 Owen Gleiberman
    Most of this just seems, you know, so three years ago, so "Bourne" again.
    • 67 Metascore
    • 33 Owen Gleiberman
    I gave up making heads or tails of Synecdoche, New York, but I did get one message: The compulsion to stand outside of one's life and observe it to THIS degree isn't the mechanism of art -- it's the structure of psychosis.
    • 41 Metascore
    • 33 Owen Gleiberman
    If you want to know how inept the movie is...well, it's so inept that you may wish you were watching an M. Night Shyamalan version of the very same premise.
    • 42 Metascore
    • 33 Owen Gleiberman
    Orphan isn't scary -- it's garish and plodding.
    • 65 Metascore
    • 33 Owen Gleiberman
    A brutally monotonous thriller.
    • 44 Metascore
    • 33 Owen Gleiberman
    Even the film's one "original" twist is just a desperate attempt to link it up to Ghost Rider, the only lousy Nicolas Cage action film that is actually spawning a sequel.
    • 51 Metascore
    • 33 Owen Gleiberman
    The movie wants to be deadly cool, but mostly it's just deadly.
    • 55 Metascore
    • 33 Owen Gleiberman
    Back to the Future Part III has that same sort of studio back-lot clunkiness. Only this time it's the audience that gets conked — by the sheer desperation of the whole enterprise.
    • 46 Metascore
    • 33 Owen Gleiberman
    The movie is MTV Kafka: Instead of dialogue, character, behavior, it has a look and a mood. And that's all it has.
    • 61 Metascore
    • 33 Owen Gleiberman
    I love a good mind-bender, but it's getting more common these days to see thrillers that don't so much bend your mind as chop it, smash it, and place it in the Cuisinart. Trance, the new film directed by Danny Boyle is a high-brainiac art-world thriller that wants to do nothing more (or less) than give your head a majorly pleasurable spin.
    • 35 Metascore
    • 33 Owen Gleiberman
    Viewers primed for a postapocalyptic blowout will be disappointed to learn that Universal Soldier is set in the boring old present day, and that until the climactic clash the film is slow-moving and short on firepower.
    • 24 Metascore
    • 25 Owen Gleiberman
    As anyone who has peered in on the actual WNBA for five minutes knows, professional women basketball players are as tough as men. That the film treats this as a joke isn't funny -- it's the height of lame condescension.
    • 36 Metascore
    • 25 Owen Gleiberman
    Kollek is a fringe auteur who makes independent films the old fashioned way: no budget, static camera, a script that telegraphs its tiny, paste gem ironies.
    • 33 Metascore
    • 25 Owen Gleiberman
    The entire movie has the meaninglessly burnished, sunglasses-at-midnight glow of an early-'90s car commercial -- a visual scheme guaranteed to leave the audience squinting between yawns.
    • 38 Metascore
    • 25 Owen Gleiberman
    If you've been longing to see the worst family entertainment of 1966, A Dog of Flanders may be the movie for you.
    • 30 Metascore
    • 25 Owen Gleiberman
    This ''satire'' of triple-X raunch and ''Jerry Springer'' sleaze starts off at a pitch of preening dementia and just grows more hysterical from there.
    • 38 Metascore
    • 25 Owen Gleiberman
    Might best be described as bereavement porn.
    • 25 Metascore
    • 25 Owen Gleiberman
    Another racial cartoon buddy movie that eagerly flogs its best laugh -- indeed, its only laugh -- in the trailer.
    • 53 Metascore
    • 25 Owen Gleiberman
    Has a topsy-turvy sense of injustice.
    • 47 Metascore
    • 25 Owen Gleiberman
    A convoluted ''dweeb meets the Mob'' farce in which everyone is trying to kill everyone else, but it's the movie that's the real corpse -- albeit a busy, twitching one.
    • 47 Metascore
    • 25 Owen Gleiberman
    Critics tend to fawn over the Japanese director-star Takeshi Kitano (a.k.a. Beat Takeshi), but am I the only one who finds his films impossible to make heads or tails of?
    • 51 Metascore
    • 25 Owen Gleiberman
    Starts out as a neo-Pygmalion comedy, but the film is slow, earnest, and rhythmless.
    • 33 Metascore
    • 25 Owen Gleiberman
    It's an utterly fake nostalgia piece -- stupid and pandering, a bad-boy teen flick that plays less like a loving look at the late '70s than a terrible movie from the late '70s.
    • 52 Metascore
    • 25 Owen Gleiberman
    The only performer I enjoyed watching was Martin Short, who plays a bitch dandy music teacher with a smile so fake that the comedian seems to be acting with his gums.
    • 42 Metascore
    • 25 Owen Gleiberman
    It barely boasts enough funny material to fill four minutes.
    • 33 Metascore
    • 25 Owen Gleiberman
    God-awful?Gooding screams out lines like ''I'm about to get in yo' ass like last year's underwear!''
    • 30 Metascore
    • 25 Owen Gleiberman
    Just when you're sure that Deuce Bigalow: Male Gigolo can't get any less funny, the movie douses the trailer's best gag, as that prosthetic leg turns out to be attached to Deuce's true love.
    • 62 Metascore
    • 25 Owen Gleiberman
    The wedding, which turns the very concept of ''Greek'' into the sort of hideous, pandering clichés that look rejected from bad Jewish and Italian sitcoms.
    • 45 Metascore
    • 25 Owen Gleiberman
    Would like to be a Halloween treat, but it's more like a nightmare of blandness.
    • 9 Metascore
    • 25 Owen Gleiberman
    Just a lumbering, poorly photographed piece of derivative sci-fi drivel, full of grunting extras scampering around in animal pelts and more dank, trash-strewn sets than I ever care to see again.
    • 34 Metascore
    • 25 Owen Gleiberman
    Is less an end in itself than an excuse, a jumping off point for showy, contrived, borderline exploitation sequences that fail to tie together because they're not really there to do anything but sell themselves as money shot thrills.
    • 36 Metascore
    • 25 Owen Gleiberman
    Allen is no more convincing than the writer-director, Chris Ver Wiel, who strings together faux-QT, faux-Elmore Leonard clichés like so many necklace beads and pretends that's the same thing as making a movie.
    • 27 Metascore
    • 25 Owen Gleiberman
    Jason Lee seems to have been bitten by a vampire who sucked out all his prickly charisma. You see the promise of stardom dribbling through his fingers.
    • 36 Metascore
    • 25 Owen Gleiberman
    How appealing is Muniz, taking a break from ''Malcolm in the Middle,'' a day job he should by no means let go of?
    • 48 Metascore
    • 25 Owen Gleiberman
    It's no insult to Melville to say that he wrote, in effect, the original ''Dilbert.'' This movie, unfortunately, makes ''Dilbert'' look like Melville.
    • 25 Metascore
    • 25 Owen Gleiberman
    If any of these characters were half as resonant as Wenders appears to think they are, the film might have seemed charming instead of merely stranded.
    • 18 Metascore
    • 25 Owen Gleiberman
    Doesn't contain a single scary or imaginative moment.
    • 14 Metascore
    • 25 Owen Gleiberman
    It's doubtful that even a real actress could have triumphed over the rusty tinsel of Glitter, a hapless, retro-'80s ''Star Is Born.''
    • 32 Metascore
    • 25 Owen Gleiberman
    De Niro seems to be reacting to nothing so much as the lame movie he's stuck in.
    • 46 Metascore
    • 25 Owen Gleiberman
    It's a dismal mess...What's most grating about Hackers, however, is the guileless way the movie buys in to the computer-kid-as-elite-rebel mystique currently being peddled by magazines like Wired.
    • 19 Metascore
    • 25 Owen Gleiberman
    Someone (Myers?) came up with the bright idea of turning the Cat in the Hat into the worst Vegas nightclub spritzer of 1958. He's become a furry version of Rip Taylor: a walking, talking vaudeville idiot box.
    • 70 Metascore
    • 25 Owen Gleiberman
    Isn't up to much of anything besides pretending that swearwords and snot-nosed insults, served up by Santa with an almost institutional monotony, aren't just naughty. They're -- big joke! -- incorrect.
    • 35 Metascore
    • 25 Owen Gleiberman
    The movie, which strains to be hip in a faux-1985 beat-the-system way, takes such a light view of cheating that it has the ironic effect of rendering the heist that follows utterly innocuous.
    • 65 Metascore
    • 25 Owen Gleiberman
    You'd think that the film would ask you to be appalled at this scenario of forced servitude -- but no, it's treated as harmless and cute, like an Israeli ''Chico and the Man.''
    • 31 Metascore
    • 25 Owen Gleiberman
    The cruddy, shot-in-a-warehouse settings are especially depressing, since the computer-generated special effects seem to be taking place in another movie entirely (a far livelier one). [9 Jan 1998, p. 47]
    • Entertainment Weekly
    • 37 Metascore
    • 25 Owen Gleiberman
    The United States of Leland is tedious yet infuriating, since its characters, all of whom seem to have emerged from a screenwriter's manual, are like exhibits in a thesis meant to indict the middle class for the crime of its collective dysfunction.
    • 45 Metascore
    • 25 Owen Gleiberman
    A cheaply made piece of ''psychological'' occult schlock, subjects you to that depressing stop-and-go rhythm that defines inept fantasy thrillers.
    • 31 Metascore
    • 25 Owen Gleiberman
    Leaves you with the dismaying sensation that Levinson, who should probably be off making his own version of ''The Player,'' has instead crafted a comedy of self-loathing, burying himself in a movie that deserves to be Vapoorized.
    • 35 Metascore
    • 25 Owen Gleiberman
    If you were looking for an actress to play a tempestuous, schizophrenic movie-slash-rock star, you might go for Courtney Love or Angelina Jolie, or maybe even Jennifer Connelly. But Rachael Leigh Cook?
    • 34 Metascore
    • 25 Owen Gleiberman
    Instead of rooting for Pullman and Fonda, we end up praying that the crocodile is hungry enough to put them out of their misery.
    • 46 Metascore
    • 25 Owen Gleiberman
    A witch comedy so slapdash, plodding, and muddled it seems to have had a hex put on it.
    • 52 Metascore
    • 25 Owen Gleiberman
    Has Brian De Palma finally lost his mind? Ever since "Carrie" (1976), his one true masterpiece, this director has evolved into a cinematic serial killer of common sense.
    • 66 Metascore
    • 25 Owen Gleiberman
    Watching Pecker, his rickety new comedy about a teenage Baltimore shutterbug, it becomes clear that Waters has grown color-blind to his own sleazo-shock aesthetic.
    • 47 Metascore
    • 25 Owen Gleiberman
    Silver City may be the mustiest political-conspiracy tale ever filmed; it's like "Chinatown" rewritten by Ralph Nader.
    • 29 Metascore
    • 25 Owen Gleiberman
    Homophobic, sex-phobic, maybe even human-phobic.
    • 27 Metascore
    • 25 Owen Gleiberman
    An action-choked dud in which even the closing outtakes barely deserve to be left on the cutting-room floor?
    • 15 Metascore
    • 25 Owen Gleiberman
    Darkness was clearly tossed together like salad in the editing room, since it's little more than the sum of its unshocking shock cuts.
    • 35 Metascore
    • 25 Owen Gleiberman
    A sodden ''feminist'' vulgarization.
    • 30 Metascore
    • 25 Owen Gleiberman
    Simply put, it may be the lamest movie ever made about poor white... Southern characters.
    • 30 Metascore
    • 25 Owen Gleiberman
    Feeling Minnesota suggests Sam Shepard trying to be Quentin Tarantino. It makes even gun battles seem pretentious.
    • 16 Metascore
    • 25 Owen Gleiberman
    By the end, you feel like a drill sergeant-you want to wipe that stupid grin off Sandler's face.
    • 31 Metascore
    • 25 Owen Gleiberman
    Screenwriter Kevin Williamson (the Scream trilogy), having bottomed out in the horror genre, now dips below bottom (there isn't a line that has his knowing sweet-and-sour zing).
    • 72 Metascore
    • 25 Owen Gleiberman
    Antal has assembled what may be the single most colorless group of mangy lowlifes I have ever seen.
    • 56 Metascore
    • 25 Owen Gleiberman
    So badly told that it ends up dissecting a corruption that exudes from nowhere but itself.
    • 29 Metascore
    • 25 Owen Gleiberman
    As Brier's comrade-in-lip-gloss, Ashlee Simpson, dressed to look like a teenybop girl version of Crispin Glover in "River's Edge," is the real deal -- in fake cred.
    • 36 Metascore
    • 25 Owen Gleiberman
    The movie is trash shot to look like art imitating trash.
    • 45 Metascore
    • 25 Owen Gleiberman
    Atrociously scripted and edited.
    • 58 Metascore
    • 25 Owen Gleiberman
    The movie lacks even the misplaced fervor of obsession. It's lifeless kitsch.
    • 46 Metascore
    • 25 Owen Gleiberman
    Don't let the Carl Hiaasen pedigree fool you: Hoot is an Afterschool Special too crummy to give a hoot about.
    • 67 Metascore
    • 25 Owen Gleiberman
    A glumly serious British mock rock doc: You could forgive the paucity of jokes if Brothers of the Head had anything to say, or if the '70s-vérité surface were remotely convincing.
    • 29 Metascore
    • 25 Owen Gleiberman
    This dank and rhythmless ''psychological'' potboiler was directed by Jamie Babbit, who made 2000's "But I'm a Cheerleader," and though she has shifted tones from shrill camp to moody angst in The Quiet, she still thinks in stereotypes so thin that they put you to sleep the moment they open their mouths.
    • 69 Metascore
    • 25 Owen Gleiberman
    A few more films like Tears of the Black Tiger, and kitsch will be on its way to having a bad name.
    • 35 Metascore
    • 25 Owen Gleiberman
    Hannibal Rising reduces this great creature of the pop imagination to a Eurotrash Boy Scout throwing a homicidal snit fit.
    • 27 Metascore
    • 25 Owen Gleiberman
    Murphy speaks in a breathy lisp, as if his mouth had been partially buttoned shut, and he doesn't give himself the nerd's traditional redeeming feature of a geeky, slide-rule intellect. Norbit, all frozen gawk, is just a very dim bulb.
    • 36 Metascore
    • 25 Owen Gleiberman
    Chatwin comes off as prickly and annoyed -- they should have called this "Perturbia."
    • 27 Metascore
    • 25 Owen Gleiberman
    Vampire in Brooklyn is a horror comedy that mixes lame blood-pellet effects with lame gags, and it clunks along on a series of interchangeably deserted streets that manage to look dank and overlit at the same time.
    • 44 Metascore
    • 25 Owen Gleiberman
    Last Action Hero makes such a strenuous show of winking at the audience (and itself) that it seems to be celebrating nothing so much as its own awfulness. In a sense, the movie's incipient commercial failure completes it aesthetically.
    • 50 Metascore
    • 25 Owen Gleiberman
    The most irritating thing about Hoffa is that even after you've sat through Danny DeVito's turgid, meaninglessly sprawling account of the Teamster boss' rise and fall, you still won't have any idea who Jimmy Hoffa was.
    • 49 Metascore
    • 25 Owen Gleiberman
    It's like a film-school thesis gone disastrously wrong.
    • 64 Metascore
    • 25 Owen Gleiberman
    Inert dud of a hitmen-are-people-too comedy.
    • 52 Metascore
    • 25 Owen Gleiberman
    In a season of digital bombast, it can be a relief to walk into a stodgy life-of-the-great-man costume drama. Goya's Ghosts, before it turns into a messy, horse-drawn load, achieves a civilized stuffiness that gives off its own mild pleasure.
    • 25 Metascore
    • 25 Owen Gleiberman
    The audience gets the message (religious fanaticism: bad), but nothing we see is convincing on its own.
    • 36 Metascore
    • 25 Owen Gleiberman
    The morality of revenge is barely at issue in a movie that pushes the plausibility of revenge right over a cliff.
    • 46 Metascore
    • 25 Owen Gleiberman
    The film completely misses what should have been its real target -- the filming of Game of Death, a martial-arts campfest worthy of Edward D. Wood Jr.
    • 53 Metascore
    • 25 Owen Gleiberman
    You can expect a lot of shredding and gurgling. 30 Days of Night is relentless, but it's also relentlessly one-note.
    • 24 Metascore
    • 25 Owen Gleiberman
    The backstories keep piling up, with nods to "The Shining," "The Ring," and a dozen other gothic supernatural chillers, yet the result doesn't remotely scare you.
    • 29 Metascore
    • 25 Owen Gleiberman
    Kate Hudson is as blah and dazed as her costar is cloyingly enthused. If it's possible to have too even a tan, Hudson in Fool's Gold would be the poster child for it.
    • 48 Metascore
    • 25 Owen Gleiberman
    Simon Pegg has what it takes, but he's saddled himself with a script (co-written by Pegg and Michael Ian Black) that Adam Sandler wouldn't have pulled out of his bottom drawer.
    • 53 Metascore
    • 25 Owen Gleiberman
    None of the faux icons comes close to being a character. Instead, they are contrasted with a group of nuns who skydive without parachutes. Could this possibly be a metaphor for Korine's filmmaking? It certainly goes splat.
    • 49 Metascore
    • 25 Owen Gleiberman
    It's like "Schindler's List" crossed with "The Sound of Music," and Roger Spottiswoode directs it in a stiff, lifeless, utterly dated style of international squareness.
    • 36 Metascore
    • 25 Owen Gleiberman
    It's not much fun to see these two reduced to "Mad TV" parodies of themselves.
    • 31 Metascore
    • 25 Owen Gleiberman
    It's just a grindingly inert death-wish thriller.
    • 41 Metascore
    • 25 Owen Gleiberman
    While George Lopez, Cheech Marin, and Paul Rodriguez are funny men, it's amazing how boring these Latin-shtick cutups can be when none of them gets a single good line.
    • 28 Metascore
    • 25 Owen Gleiberman
    Randall Miller (Bottle Shock), appears to be trying to cross a bad Elmore Leonard thriller with a bad indie-festival family-angst comedy. He gives us the worst of both worlds.
    • 33 Metascore
    • 25 Owen Gleiberman
    It's a dispirited, galumphing mess.
    • 44 Metascore
    • 25 Owen Gleiberman
    It all makes you want to see a Bollywood movie, all right -- a good one.
    • 7 Metascore
    • 25 Owen Gleiberman
    Writer-director-stars Zach Cregger and Trevor Moore, of the Whitest Kids U'Know, here prove the crassest, most maladroit moviemakers you know.
    • 38 Metascore
    • 25 Owen Gleiberman
    A stillborn rendering of Michael Chabon's first novel.
    • 50 Metascore
    • 25 Owen Gleiberman
    Isn't it time Steve Zahn grew up? Ever since the '90s, this walking quirk of an actor has pushed his dazed solipsistic zaniness (he's like Michael J. Fox’s hillbilly cousin), but he's 41 now, and it no longer looks cute on him.
    • 27 Metascore
    • 25 Owen Gleiberman
    As the brutish Kable, Gerard Butler must find out who's pulling his strings, but it's the audience whose chain gets yanked by this headache-inducing techno-violent mishmash.
    • 29 Metascore
    • 25 Owen Gleiberman
    The result is a sub-"Saw" knockoff that manages to be brutal yet monotonous, not to mention monstrously unpleasant.
    • 30 Metascore
    • 25 Owen Gleiberman
    The thinnest, draggiest, and most tediously preachy of the Saw films.
    • 53 Metascore
    • 25 Owen Gleiberman
    A ponderous dystopian bummer that might be described as "The Road Warrior" without car chases, or "The Road" without humanity.
    • 61 Metascore
    • 25 Owen Gleiberman
    Whenever an actress takes on a gritty working-class role, the audience does a gut check of authenticity. Either the actress gets it, like Melissa Leo did in "Frozen River," or she doesn't, like Michelle Monaghan as the spoilin'-for-a-fight truck-driver heroine of the inert indie dud Trucker
    • 33 Metascore
    • 25 Owen Gleiberman
    In Trash Humpers, the latest slovenly, haphazard, is-it-a-travesty-if-it's-bad-on-purpose avant doodle from director Harmony Korine, three figures in rubbery old-age makeup do indeed mimic intercourse with Dumpsters.
    • 37 Metascore
    • 25 Owen Gleiberman
    Taylor Hackford, fails to squeeze the tiniest bit of juice, sexy or comic or otherwise, out of the chintzy-libertine locale.
    • 57 Metascore
    • 25 Owen Gleiberman
    I wish I could say that the film is half as intriguing as it sounds, but A Woman, a Gun... lacks the Coen brothers' precision, their diabolical game-board cleverness. It's a remake in shaggy outline only.
    • 38 Metascore
    • 25 Owen Gleiberman
    The Rite commits the supreme sin of making the devil dull.
    • 50 Metascore
    • 25 Owen Gleiberman
    Anderson has made a zombie movie without the zombies.
    • 37 Metascore
    • 25 Owen Gleiberman
    Except for the relentless, jittery way that the film has been photographed, there's nothing of interest going on in it. It's all fractious guerrilla-newsreel "style" masquerading a void.
    • 41 Metascore
    • 25 Owen Gleiberman
    Hop
    It's "Alvin and the Chipmunks" with only one chipmunk, and (if possible) even less fun.
    • 66 Metascore
    • 25 Owen Gleiberman
    It's one of those stultifying aftermath-of-
a-car-crash movies.
    • 43 Metascore
    • 25 Owen Gleiberman
    The title, Machine Gun Preacher, makes it sound like a piece of grindhouse kitsch - and by the time it's over, you'll be thinking, ''If only!''
    • 22 Metascore
    • 25 Owen Gleiberman
    It will have you groaning between yawns.
    • 51 Metascore
    • 25 Owen Gleiberman
    Nothing in John Carter really works, since everything in the movie has been done so many times before, and so much better.
    • 25 Metascore
    • 16 Owen Gleiberman
    It will come as no surprise that the movie isn't scary. But here's the real damn: It isn't funny, either.
    • 16 Metascore
    • 16 Owen Gleiberman
    The movie, a shoddy mess, is a bargain-basement rip-off of ''Ronin."
    • 30 Metascore
    • 16 Owen Gleiberman
    The definition of aiming low is when the John Hughes film you're ripping off is ''Weird Science."
    • Entertainment Weekly
    • 40 Metascore
    • 16 Owen Gleiberman
    Stops time, all right -- it stretches 94 minutes into something that begins to feel like infinity.
    • 31 Metascore
    • 16 Owen Gleiberman
    The hilarious diminuendo of that title is such that the movie might as well have been called ''Wes Craven Presents: Not a Hell of a Lot.''
    • 30 Metascore
    • 16 Owen Gleiberman
    Schaeffer's howler of a romantic comedy, which presents itself as a valentine to Clayburgh even as it keeps dreaming up fresh ways to humiliate her.
    • 64 Metascore
    • 16 Owen Gleiberman
    It has that vintage Polish pace, their signature arch pomposity and rhythmless weirdness, only this time the brothers had to go and make a cosmic allegory of American dreams.
    • 48 Metascore
    • 16 Owen Gleiberman
    Serves up the sort of shrill ''satire'' of middle-class Jewish vulgarity in which the mere mention of words like ''brisket'' and ''klezmer'' is automatically presumed to be hilarious.
    • 33 Metascore
    • 16 Owen Gleiberman
    The Punisher is a moronically inept and tedious piece of death-wish trash.
    • 53 Metascore
    • 16 Owen Gleiberman
    Nothing in Imaginary Heroes rings true, least of all a plot that lightly combines domestic abuse, adulterous pregnancy, teen bisexuality, job abandonment, and a possible case of Mysterious Movie Disease. These are not ordinary people. Or real ones.
    • 62 Metascore
    • 16 Owen Gleiberman
    The result is a dead pile of information in search of a movie.
    • 11 Metascore
    • 16 Owen Gleiberman
    Fragmented and monotonous, without a semblance of the gymnastic cleverness that at least made the first Mortal Kombat film into watchable trash, Mortal Kombat Annihilation is as debased as movies come.
    • 27 Metascore
    • 16 Owen Gleiberman
    Selma Blair, the one vibrant actress in a cast of colorless screamers (including Tom Welling from Smallville and Maggie Grace from Lost), takes Adrienne Barbeau's old role.
    • 21 Metascore
    • 16 Owen Gleiberman
    The Zodiac has been made with the dunderheaded flatness of bad '70s TV.
    • 50 Metascore
    • 16 Owen Gleiberman
    Shainberg reduces this most disturbing of all photographers to a portraitist of Halloween.
    • 42 Metascore
    • 16 Owen Gleiberman
    The gimmick in The Abandoned is that people battle their zombie doubles, whom they can't kill, since they'd be killing themselves. But the movie sinks so deep into deathly atmosphere that there's no life to it.
    • 14 Metascore
    • 16 Owen Gleiberman
    Confined to just a few sets, the movie is like the pilot for a sitcom you never want to see. Yet Ephron seems to think she's making a feel-good holiday classic: She floods the soundtrack with old pop versions of Christmas standards, trying to render stale comedy appetizing by drenching it in syrup. [23 Dec 1994, p.50]
    • Entertainment Weekly
    • 48 Metascore
    • 16 Owen Gleiberman
    Angel-A shows how director Luc Besson can be French in a way that even the French might despise...Quel ick. And très tedious.
    • 26 Metascore
    • 16 Owen Gleiberman
    In theory, A Thousand Words should draw on its star's abilities as a physical comedian, but Murphy, miming his order for a triple latte at Starbucks, comes off like Charlie Chaplin on crystal meth; he's strenuously unfunny to watch.
    • 31 Metascore
    • 16 Owen Gleiberman
    This is the rare horror film so bad that you almost wish it had turned into a good old connect-the-gory-dots slasher movie. The only mystery at work is how Lawrence's agent ever let her sign on to this.
    • 27 Metascore
    • 16 Owen Gleiberman
    With jokes this lame you won't have to worry as much about your children getting any bad ideas.
    • 22 Metascore
    • 0 Owen Gleiberman
    This may be the first talking-animal movie in which the critter hero seems to have been body-snatched by a commentator from C-SPAN.
    • 10 Metascore
    • 0 Owen Gleiberman
    The trouble with Whipped isn't that its characters are dirty mouthed horndog jerks -- it's that they're phony dirty mouthed horndog jerks.
    • 43 Metascore
    • 0 Owen Gleiberman
    As an actor, Raymond is whiny and annoying, but not nearly so much as the film.
    • 14 Metascore
    • 0 Owen Gleiberman
    Just... bad. As in BAD bad.
    • 34 Metascore
    • 0 Owen Gleiberman
    Even Snow Day's winter wonderland looks fake.
    • 40 Metascore
    • 0 Owen Gleiberman
    An inept low-budget thriller.
    • 44 Metascore
    • 0 Owen Gleiberman
    The film isn't just bad; it's a barely coherent, inert mess -- a heart-tugger for voidoids.
    • 69 Metascore
    • 0 Owen Gleiberman
    Why would filmmakers with this much talent work this hard to thumb their noses at everything they put on screen?
    • 19 Metascore
    • 0 Owen Gleiberman
    The comedy is nonexistent.
    • 17 Metascore
    • 0 Owen Gleiberman
    This may be the only would-be blockbuster that's a sprawling, dissociated mess on purpose. It's a perverse landmark: the first postmodern Hollywood disaster.
    • 39 Metascore
    • 0 Owen Gleiberman
    Poisonously smug, one-joke indie comedy.
    • 42 Metascore
    • 0 Owen Gleiberman
    A movie so unhinged it practically dares you not to hate it.
    • 24 Metascore
    • 0 Owen Gleiberman
    Personally, I'd say that it was about time Arquette was leashed.
    • 7 Metascore
    • 0 Owen Gleiberman
    It's a shrill, stupid, brickbat-blatant piece of hackwork that practically sweats to be ''commercial.''
    • 14 Metascore
    • 0 Owen Gleiberman
    It's like ''Grease: The Next Generation'' acted out by the food-court staff at SeaWorld.
    • 21 Metascore
    • 0 Owen Gleiberman
    The picture is so lethargic that I began to think of watching it as a form of atonement.
    • 59 Metascore
    • 0 Owen Gleiberman
    If you look hard, you can make out a story in Femme Fatale, but it has nothing to do with the senseless pileup of jewel thievery, shutterbug voyeurism, and leggy sex bombs so shallow and bad they seem to have come out of a 1978 copy of Hustler magazine.
    • 20 Metascore
    • 0 Owen Gleiberman
    It appears to have been modeled on the worst revenge-of-the-nerds clichés the filmmakers could dredge up.
    • 20 Metascore
    • 0 Owen Gleiberman
    It might be courting hyperbole to call Corky Romano the single worst movie ever to feature an ''SNL'' cast member (Dan Aykroyd hit some pretty arid valleys), but I'm willing to go out on a critical limb and rank it among the all-time bottom dozen.
    • 32 Metascore
    • 0 Owen Gleiberman
    A somber, draggy, deadweight, lugubrious, absurdly self serious version of ''American Beauty.''
    • 50 Metascore
    • 0 Owen Gleiberman
    There's something uniquely embarrassing about a rock & roll fable that is no more authentic (and no less coy) than an episode of ''The Monkees'' yet insists on presenting itself as the epitome of rebel-yell cool.
    • 19 Metascore
    • 0 Owen Gleiberman
    Halloween: Resurrection comes closer to comatainment.
    • 13 Metascore
    • 0 Owen Gleiberman
    For the audience, it's like watching the dreckiest of teen puppy courtships trying to pass itself off as ''Annie Hall.'' La-de-blah.
    • 5 Metascore
    • 0 Owen Gleiberman
    The only thing shocking about it, however, is the degree to which self-congratulatory gutter exhibitionism has become the degraded ash end of indie ''edge.''
    • 11 Metascore
    • 0 Owen Gleiberman
    Benigni's Pinocchio is meant to be adorable, but he comes off as less an enchanted puppet than as a harmlessly deranged middle-aged man prancing about in the kind of froufrou cream-colored pantsuit that Dinah Shore retired to her back closet in 1977.
    • 13 Metascore
    • 0 Owen Gleiberman
    To dismiss this movie for being ''offensive'' would be to offer it high praise.
    • 46 Metascore
    • 0 Owen Gleiberman
    Ryan radiates neither desire nor terror. She's freeze-dried in a world of lifelessly abstract feminine fear, and so is the movie.
    • 38 Metascore
    • 0 Owen Gleiberman
    The film treats its audience like fidgety junior-high schoolers, piling on the sub-Koyaanisqatsi cityscapes and cheesy episodes with Marlee Matlin as a lonely photographer, plus bouncy cartoons of human cells who look as if they'd be happier chasing stains in bathroom-cleanser commercials.
    • 28 Metascore
    • 0 Owen Gleiberman
    She Hate Me manages to be at once racist, homophobic, utterly fake, and unbearably tedious. This time, it's Spike Lee who's doing the bamboozling.
    • 50 Metascore
    • 0 Owen Gleiberman
    Top-heavy with whimsy, so muddled it makes Mission: Impossible look like a model of narrative cohesion, The Saint is the apo-theosis of the new incoherence, with the cliches of espionage and action thrillers jammed together like bumper cars.
    • 34 Metascore
    • 0 Owen Gleiberman
    As bumbling and mindless, as naively misconceived, as that clapping-through-tears moniker.
    • 56 Metascore
    • 0 Owen Gleiberman
    In every way dreadful.
    • 21 Metascore
    • 0 Owen Gleiberman
    A black comedy in the form of vicarious serial punishment.
    • 57 Metascore
    • 0 Owen Gleiberman
    Parts of the film play like the world's slowest and most insensitive reality show (Who Wants to Be an Octogenarian?).
    • 42 Metascore
    • 0 Owen Gleiberman
    The movie has no wit, no charm, no cleverness, no traction. Simply put, it is no fun.
    • 27 Metascore
    • 0 Owen Gleiberman
    What sin did Heather Locklear commit to deserve her role in The Perfect Man?
    • 34 Metascore
    • 0 Owen Gleiberman
    On the level of a no-budget student film in which the shots barely match up into sequences. It's about as much fun as watching blood dry.
    • 51 Metascore
    • 0 Owen Gleiberman
    Stupefyingly tedious and annoying.
    • 35 Metascore
    • 0 Owen Gleiberman
    The real problem is the movie itself. The plot, with its interlocking contrivances, is like a machine that keeps trapping the actors in its gears. Since they aren't allowed to relate to each other on a simple human level, the spangly back-and-forth chemistry on which a romantic comedy depends is nowhere in sight.
    • 44 Metascore
    • 0 Owen Gleiberman
    The Libertine is such a torturous mess that it winds up doing something I hadn't thought possible: It renders Johnny Depp charmless.
    • 37 Metascore
    • 0 Owen Gleiberman
    Carrey suggests an escaped mental patient impersonating a game-show host-and, what's worse, his hyperbolically obnoxious shtick is the whole damned show.
    • 46 Metascore
    • 0 Owen Gleiberman
    Manderlay is turgid and hollow.
    • 58 Metascore
    • 0 Owen Gleiberman
    A fractious fiasco: whiplash camera movement set to raging blasts of death metal, a story so incoherent it made me wish I was watching, instead, the collected outtakes from Van Helsing.
    • 17 Metascore
    • 0 Owen Gleiberman
    As the killer, who plucks out his victims' eyeballs, Kane, the seven-foot bald WWE wrestler who's like a modern Tor Johnson, is so inept he's more cuddly than terrifying.
    • 33 Metascore
    • 0 Owen Gleiberman
    It doesn't take long to figure out that Shadowboxer 's Helen Mirren, as a cancer-ridden hitwoman, and Cuba Gooding Jr., as her doting stepson, are the most unconvincing team of hired assassins in movie history.
    • 26 Metascore
    • 0 Owen Gleiberman
    Dour, absurdist, gruesomely awful.
    • 52 Metascore
    • 0 Owen Gleiberman
    Fragmentation can be an artful method; it can also be the last refuge for someone who scarcely knows how to make a film. In the no-budget fantasia Wild Tigers I Have Known, the fragments are like a borrowed collage of gay coming-of-age tropes.
    • 47 Metascore
    • 0 Owen Gleiberman
    Combines hugs and ''pain'' and dialogue so fakey-cute it makes your ears hurt.
    • 28 Metascore
    • 0 Owen Gleiberman
    Cowgirls, a flaky-surreal adaptation of Tom Robbins' 1976 feminist hipster road novel, finds the director of "Drugstore Cowboy" and "My Own Private Idaho" lost in the ozone of his own private whimsies.
    • 33 Metascore
    • 0 Owen Gleiberman
    Being Human doesn't seem to be about anything: Its five astonishingly limp parables might have been spun by a depressed Aesop who forgot to take his Prozac.
    • 16 Metascore
    • 0 Owen Gleiberman
    A grisly piece of torture porn.
    • 38 Metascore
    • 0 Owen Gleiberman
    A joke of a title in search of a movie with a single good joke.
    • 48 Metascore
    • 0 Owen Gleiberman
    Mr. Magorium, who is 243 years old (so are his jokes), is a cross between Willy Wonka and Geppetto, but Hoffman plays him with little more than a goofy dumb lisp, achieved by tucking his lower lip under his upper teeth, so that he looks just as rabbity-stoopid as he sounds.
    • 43 Metascore
    • 0 Owen Gleiberman
    The movie is one soporific, depressed, deadeningly vague scene after another.
    • 48 Metascore
    • 0 Owen Gleiberman
    Is there anything more dull than an ineptly cynical fairy tale?
    • 40 Metascore
    • 0 Owen Gleiberman
    A soporific dud, which should have been tossed out of Sundance.
    • 35 Metascore
    • 0 Owen Gleiberman
    George Lucas is turning into the enemy of fun.
    • 24 Metascore
    • 0 Owen Gleiberman
    The filmmakers even manage to turn seamy Bangkok into the least exotic setting imaginable.
    • 42 Metascore
    • 0 Owen Gleiberman
    This remake is merely vile (and dull).
    • 40 Metascore
    • 0 Owen Gleiberman
    It's like a pastry that's been sitting on the shelf for 60 years.
    • 54 Metascore
    • 0 Owen Gleiberman
    A magical-realist sitcom war farce that ends up being about nothing but its own slovenly smugness.
    • 35 Metascore
    • 0 Owen Gleiberman
    It's really a dramatic sinkhole.
    • 28 Metascore
    • 0 Owen Gleiberman
    Dinesh D'Souza's documentary is no mere screed: 2016: Obama's America is a nonsensically unsubstantiated act of character assassination.

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