Owen Gleiberman

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For 3,506 reviews, this critic has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 0.4 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Love, Marilyn
Lowest review score: 0 The Men Who Stare at Goats
Score distribution:
3506 movie reviews
    • 69 Metascore
    • 70 Owen Gleiberman
    Good cartoon characters tend to be ageless, and Beavis and Butt-Head Do the Universe is just clever enough not to feel like an anachronism. The duo’s creator and forever naughty guiding light, the writer-director Mike Judge (who also does their voices), flows the characters into the present day without a hitch in style or a stitch in time.
    • 65 Metascore
    • 60 Owen Gleiberman
    It’s a horror ride that holds you, and it should have no trouble carving out an audience, but I didn’t find it particularly scary.
    • 52 Metascore
    • 60 Owen Gleiberman
    The movie is a fable of winning, of beating the house every time, without much of a dark side. In that way, it’s fun; it allows us to coast along on our vicarious desire to get rich by beating the system
    • 74 Metascore
    • 40 Owen Gleiberman
    Rodeo is a movie that’s all surface, all present tense, all too-cool-to-be-anything-but-French-vérité gestures.
    • 68 Metascore
    • 100 Owen Gleiberman
    In Vengeance, B.J. Novak proves a born storyteller with the rare gift of using a film to say something that intoxicates us.
    • 60 Metascore
    • 70 Owen Gleiberman
    Given that it’s a spinoff of the “Toy Story” series, which is the greatest and most sustained achievement in contemporary animation, it should be noted that this is one of those Pixar movies that feels like it has 50 percent Disney DNA.
    • 62 Metascore
    • 50 Owen Gleiberman
    Halftime justly salutes Lopez’s pride in her achievements, but it’s every bit as much a salute to her brand management.
    • 74 Metascore
    • 50 Owen Gleiberman
    What is doesn’t have, oddly, is any sort of bone-deep reality factor. Almost nothing that happens in Funny Pages is particularly believable.
    • 68 Metascore
    • 80 Owen Gleiberman
    Hustle doesn’t rewrite any rules, but the film’s wholesome seduction is that you believe what you’re seeing — in part because of the presence of players from the aging legend Dr. J to Trae Young to Kyle Lowry and several dozen more. But also because Sandler plays Stanley with an inner sadness, a blend of weariness and resilience, and a stubborn faith in the game that leaves you moved, stoked, and utterly convinced.
    • 62 Metascore
    • 70 Owen Gleiberman
    This is Ethan’s chance to strut his solo stuff. And he does, in a very Ethan Coen way: clever, modest, borderline invisible, but with a kick that sneaks up on you. ... 'Trouble in Mind' plays like an undiluted shot of rock ‘n’ roll moonshine joy.
    • 74 Metascore
    • 90 Owen Gleiberman
    Working in their rigorously lyrical drama-as-documentary style, the Dardennes place the audience on the hamster wheel of Tori and Lokita’s lives, in a way that’s both harrowing and immersive.
    • 81 Metascore
    • 100 Owen Gleiberman
    In its minimalist quotidian way, Showing Up is a movie made by someone in masterly control of her medium.
    • 64 Metascore
    • 70 Owen Gleiberman
    It’s a willfully idiosyncratic movie that feels like a strangely fitting final film, since it amounts to Michell’s cockeyed tip of the hat to the monarchy and what it means. You could have a good debate about what, exactly, he’s trying to express in “Elizabeth,” but what I saw is a level-headed adoration that is neither fussy nor old-fashioned, since it’s cut with an acerbic awareness of the absurdity of royalty in the contemporary age.
    • 85 Metascore
    • 90 Owen Gleiberman
    Watching Moonage Daydream, there are essential facts you won’t hear, and many touchstones that get skipped over (in the entire movie, you’ll never even see an album cover). But you get closer than you expect to the chilly sexy enigma of who David Bowie really was.
    • 63 Metascore
    • 60 Owen Gleiberman
    Luhrmann has made a woefully imperfect but at times arresting drama that builds to something moving and true. By the end, the film’s melody has been unchained.
    • 65 Metascore
    • 80 Owen Gleiberman
    The movie, like so many Cronenberg films, is a gut-twister that is really, just underneath, a painstakingly chewed-over and cerebral experience. It’s an outré nightmare that keeps telling you what to think about what it means.
    • 49 Metascore
    • 30 Owen Gleiberman
    It’s a drama of dour and often impenetrable obscurity. ... Yet everything about it that’s unsatisfying is also weirdly intentional.
    • 74 Metascore
    • 60 Owen Gleiberman
    The movie ends with a rebel gesture that feels too much like…a gesture. It’s the perfect sign-off for a drama that cares, but maybe not enough to see that this kind of caring actually became part of the problem
    • 51 Metascore
    • 20 Owen Gleiberman
    It’s a messy and annoying one-joke movie that repeats the joke over and over again — and guess what, it was barely funny the first time.
    • 32 Metascore
    • 40 Owen Gleiberman
    The whole thing plays like “Logan” done in the worst humdrum rhythmless made-for-streaming generic style, the lighting flat, the soundtrack heavy with John Carpenter’s old-school one-man-at-the-synthesizer horror music, because if you took that sound of processed dread away you wouldn’t have much else.
    • 38 Metascore
    • 80 Owen Gleiberman
    This is dark, squalid, squinting-through-the-keyhole stuff, and it can make a film like The Mystery of Marilyn Monroe sound like a guilty-pleasure piece of true-crime trash, one of those glorified tabloid-TV exposés with a patina of investigative credibility. In fact, it’s a very good film.
    • 74 Metascore
    • 80 Owen Gleiberman
    Hello, Bookstore is a salute to the sacramental qualities of art that are threaded through everyday life.
    • 60 Metascore
    • 50 Owen Gleiberman
    Doctor Strange and the Multiverse of Madness is a ride, a head trip, a CGI horror jam, a what-is-reality Marvel brainteaser and, at moments, a bit of an ordeal. It’s a somewhat engaging mess, but a mess all the same.
    • 82 Metascore
    • 60 Owen Gleiberman
    Vortex doesn’t let us off the hook. Gaspar Noé never does. But if he did, he might transcend his “Behold, you will know the dark side” brand.
    • 77 Metascore
    • 80 Owen Gleiberman
    It is indeed a good movie, and quite an honest one, yet its setup is so ripe for cut corners and heartwarming chintz that I was almost surprised to see it sidestep the diagram I was expecting. I bet other viewers will have the same reaction.
    • 66 Metascore
    • 80 Owen Gleiberman
    Under the Influence is a very absorbing, very disquieting, very meaningful-for-our-time documentary.
    • 55 Metascore
    • 70 Owen Gleiberman
    As a movie with the title A-ha: The Movie should do, this one, directed by the Norwegian filmmaker Thomas Robsahm (with Aslaug Holm as co-director), tells you everything you need to know about the career of A-ha, even as it leaves out most of their personal lives.
    • 40 Metascore
    • 50 Owen Gleiberman
    Father Stu is not your everyday Hollywood religious odyssey — it’s closer to “Diary of a Country Cutup.” It’s a surprisingly sincere movie about religious feeling, but it is also, too often, a dramatically undernourished one.
    • 62 Metascore
    • 70 Owen Gleiberman
    I’m glad to report that All the Old Knives is a minor but engrossing genre movie: tightly wound, more or less rooted in the real world, with taut dialogue and espionage gambits that fall just this side of contrived. It’s not John le Carré, but it’s not thinly patched together pulp either.
    • 83 Metascore
    • 90 Owen Gleiberman
    It’s a downbeat diary that hooks us by taking the form of an addict’s picaresque. For two hours, we don’t know where Leslie is going to land next any more than she does, and that lends the film a searing, unvarnished quality.

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