Owen Gleiberman

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For 2,392 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 5.3 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Short Term 12
Lowest review score: 0 Tideland
Score distribution:
2392 movie reviews
    • 86 Metascore
    • 91 Owen Gleiberman
    Gliding from the physical to the metaphysical, Andersen reveals how films like ''Chinatown'' effectively remade the reality of Los Angeles, replacing history with myth in a way that now anchors the city more than that history itself does.
    • 70 Metascore
    • 91 Owen Gleiberman
    Who Killed the Electric Car? makes you angry, and also sad, to live in a country where innovation could be contrived into an enemy.
    • 57 Metascore
    • 91 Owen Gleiberman
    Bateman deserves props for sustaining Bad Words as a little balancing act between sulfurously funny hatred and humanity.
    • 63 Metascore
    • 91 Owen Gleiberman
    Does more than capture the excitement of marching bands; it gets their clockwork beauty as well.
    • 75 Metascore
    • 91 Owen Gleiberman
    This lone, fallen Nazi's obsessive distance from his actions is enough to give The Specialist a lingering chill.
    • 73 Metascore
    • 91 Owen Gleiberman
    An attack-of-the-aliens disaster film crafted with sinister technological grandeur -- a true popcorn apocalypse.
    • 73 Metascore
    • 91 Owen Gleiberman
    Light and goofy, yet the fight scenes, which are the heart of the film, are lickety-split mad fun.
    • 81 Metascore
    • 91 Owen Gleiberman
    In Shoot Me, she wears her spiked cynicism like a cutting form of grace, and everyone around her (including audiences) gets healed by it.
    • 62 Metascore
    • 91 Owen Gleiberman
    Like all courtroom dramas, A Few Good Men is gimmicky and synthetic. It's also an irresistible throwback to the sort of sharp-edged entertainment Hollywood once provided with regularity.
    • 84 Metascore
    • 91 Owen Gleiberman
    The unlikeliest enthralling movie to be released so far this year.
    • 61 Metascore
    • 91 Owen Gleiberman
    El Bulli becomes a haunting celebration of the human desire to turn food into art - even if the results are consciously insane.
    • 54 Metascore
    • 91 Owen Gleiberman
    The movie is on some level a stunt, but it has the fervent, sun-dazed pull of an authentic experience unfolding in real time, with glints of drama, comedy, and terror mixed into the almost-but-not-quite tedium.
    • 53 Metascore
    • 91 Owen Gleiberman
    It's the rare portrait of a happy marriage that is honest about the complex currents of desire, and the drama is beautifully played by Bale, who gawks with soulful sweetness, and Watson, who does her most piercing work since "Breaking the Waves."
    • 63 Metascore
    • 91 Owen Gleiberman
    As compelling as it is bizarre.
    • 88 Metascore
    • 91 Owen Gleiberman
    A marvelous contraption, a wheels-within-wheels thriller that's pure oxygenated movie play.
    • 85 Metascore
    • 91 Owen Gleiberman
    Just about the only documentary that works like a novel, inviting you to read between the lines of Baker's personality until you touch the secret sadness at the heart of his beauty.
    • 57 Metascore
    • 91 Owen Gleiberman
    Dishes up some very corny jokes, but the images have a brighter-than-life vivacity.
    • 69 Metascore
    • 91 Owen Gleiberman
    The most original and excitingly executed wow-factor-meets-handheld-video feature since "Blair Witch" itself. It's also a movie that rebuilds the power of special effects from the ground up.
    • 65 Metascore
    • 91 Owen Gleiberman
    A deft, funny, shrewdly unsettling tribute to such slasher-exploitation thrillers as "Terror Train," "New Year's Evil," and Craven's own "A Nightmare on Elm Street."
    • 85 Metascore
    • 91 Owen Gleiberman
    The triumph of ''Spring, Summer'' is that even those of us who don't happen to be Buddhists can catch a glimpse of ourselves in the spinning wheel of hope, destruction, suffering, and bliss.
    • 70 Metascore
    • 91 Owen Gleiberman
    The movie is an unblinking look at the hidden (or perhaps not so hidden) pathology of American sports mania.
    • 71 Metascore
    • 91 Owen Gleiberman
    Linklater has hardly been a slacker this year. I'll take the tricky confrontational babble of Tape over some of the gauzier soliloquies in ''Waking Life,'' but either way, he's a filmmaker in love with the music of talk, and let's bless him for that.
    • 70 Metascore
    • 91 Owen Gleiberman
    Countdown to Zero makes old terrors radioactively new again.
    • 77 Metascore
    • 91 Owen Gleiberman
    The documentary equivalent of a page-turner.
    • 82 Metascore
    • 91 Owen Gleiberman
    The movie is a bumpy road of twists that leads to a revelation that has the shock and force of Greek tragedy.
    • 84 Metascore
    • 91 Owen Gleiberman
    It's a beautiful contraption of a movie, a gothic backwoods fable that uses its naive yet murderous hero to walk a fine line between sentimentality and dread.
    • Entertainment Weekly
    • 84 Metascore
    • 91 Owen Gleiberman
    The final shot, of the three characters now united, may be the quietest affirmation of life I've ever seen in a movie, and one of the truest.
    • 52 Metascore
    • 91 Owen Gleiberman
    Watching Bounce, you look at him (Affleck) and believe how much he's got at stake, and you look at Paltrow and know why.
    • 54 Metascore
    • 91 Owen Gleiberman
    It's a crackerjack B movie worthy of comparison to such stylishly low-down, smart-meets-dumb, hyper-violent entertainments as the 1997 Kurt Russell thriller "Breakdown," Clint Eastwood's infamous police bloodbath "The Gauntlet," John Carpenter's original "Assault on Precinct 13," and Arnold's own overlooked 1986 outing "Raw Deal."
    • 52 Metascore
    • 91 Owen Gleiberman
    The film is like East of Eden replayed as a hyperbolic rock fever dream. There are a few sour, juvenile moments, but this is the rare pop movie that works the way a great rock & roll song does: It tells a simple, almost elemental tale and uses the music to set it aflame.

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