Owen Gleiberman

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For 3,002 reviews, this critic has graded:
  • 63% higher than the average critic
  • 2% same as the average critic
  • 35% lower than the average critic
On average, this critic grades 1.9 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Saving Private Ryan
Lowest review score: 0 Kikujirô no natsu
Score distribution:
3002 movie reviews
    • tbd Metascore
    • 70 Owen Gleiberman
    Though it’s far from the last word on ZZ Top, “That Little Ol’ Band From Texas” fills in the nuts and bolts, giving you enough of a glimpse of how it all happened to make it seem like a down-home rock ‘n’ roll mirage come true.
    • 51 Metascore
    • 50 Owen Gleiberman
    Linklater, as brilliant a filmmaker as he is, is a kind of Zen rationalist; his shot language and essential humanity invite us to look at Bernadette and think, “You need help.” But that stops the character, even in her baroquely witty lashing out, from becoming a projection of a larger passion.
    • 43 Metascore
    • 60 Owen Gleiberman
    It takes a lot of chops to shoot the majority of a movie underwater, and Johannes Roberts is a skillful crafter of images ... But he’s a throw-what-he-can-at-the-audience director, and there’s little in 47 Meters Down: Uncaged that really sticks. The shocks, however, are consistently well-timed, and for the audience that seeks out a movie like this one that’s probably enough.
    • 61 Metascore
    • 40 Owen Gleiberman
    The emotions of the stories have been lost. We could be watching the standard ghoulish CGI effects that take place in any horror movie of the week.
    • 36 Metascore
    • 50 Owen Gleiberman
    We see, in Melissa McCarthy’s increasingly fierce performance, a hint of what the movie might have been: the tale of a new kind of feminine mystique — a methodical fury that weds the imperatives of a mother to the style of a gangster. But that movie needed a better script.
    • 73 Metascore
    • 90 Owen Gleiberman
    After watching Jay Myself, you yourself may begin to see the world in a whole new way, as if you’d woken up to all the images that might have been invisible before, but only because you passed them by.
    • 68 Metascore
    • 60 Owen Gleiberman
    The movie itself isn’t bad, though I wish it were better.
    • 67 Metascore
    • 50 Owen Gleiberman
    Privacy issues aside (and I’m second to none in my concern about them), the movie, in its ham-fisted fashion, is trying to come up with some way to regulate what it despises.
    • 55 Metascore
    • 60 Owen Gleiberman
    A documentary that recaps Hamilton’s life in compelling fashion without adding anything of special novelty or depth (though much of the surfing footage is spectacular), it can feel like you’re seeing a perfectly fine devotional sports biography that doesn’t elevate the saga it’s telling to the next level.
    • 61 Metascore
    • 40 Owen Gleiberman
    Crawl has no pretense and not very much range; it’s “Jaws” set in an old dark house.
    • 66 Metascore
    • 70 Owen Gleiberman
    "American Heretics" is eye-opening, but it's never explosive.
    • 30 Metascore
    • 30 Owen Gleiberman
    Phil is a trifle, and there’s no harm in that, but it’s an unconvincing trifle. The words “coy” and “whimsical” scarcely do justice to its coy whimsicality.
    • 69 Metascore
    • 80 Owen Gleiberman
    The key to the new movie’s appeal, apart from the fact that Tom Holland acts with far greater confidence and verve in the title role, is that the entire film is a bit of a fake-out, and I mean that in a very positive way.
    • 53 Metascore
    • 70 Owen Gleiberman
    Name your fear trigger, and it’s probably there, somewhere, in Annabelle Comes Home. It looks like a horror film, but it’s really the horror equivalent of speed dating.
    • tbd Metascore
    • 30 Owen Gleiberman
    The Specials, in the end, is not a very compelling movie. It’s arduous and rambling and repetitive; it skitters across the surface of the story it’s telling. The film lacks a vibrant structure, but more than that, it never brings us close to the people it shows us.
    • 50 Metascore
    • 30 Owen Gleiberman
    Burn Your Maps is one of those movies that’s glib and facile and threadbare all the way through, then the ending sort of gets to you (you’d have to be made of pretty stern stuff if it didn’t), so you think back over what you’ve seen — and it’s still a crock.
    • 40 Metascore
    • 70 Owen Gleiberman
    The movie is product, but by the end you want to see this team again.
    • 86 Metascore
    • 90 Owen Gleiberman
    Rolling Thunder Revue celebrates the let’s-try-it-on, let-it-all-hang-out spirit of the era, and as a time capsule the film is a gift that keeps on giving.
    • 73 Metascore
    • 80 Owen Gleiberman
    Essential and absorbing documentary.
    • 43 Metascore
    • 80 Owen Gleiberman
    Turner’s damaged conviction holds Dark Phoenix together, giving it a treacherous life force.
    • 40 Metascore
    • 30 Owen Gleiberman
    To hear the unmistakable sounds of yet another lavishly orchestrated Donaggio swoonfest laid over the flat, static expository scenes of the choppy benumbed “international” police thriller Domino is to watch De Palma trying to create cinematic fire out of burnt-out match sticks.
    • 66 Metascore
    • 70 Owen Gleiberman
    The genius of Pavarotti’s voice is that it had the power to heal. The movie pays ample testament to how that voice, for 40 years, poured out of him, rapturous and tragic, soaring on wings of pure emotion, at times wracked with a spiritual pain that was surely his own, but always lifting his audience to the mountaintop of beauty, saying, “This is where I live. And you can too.”
    • 53 Metascore
    • 50 Owen Gleiberman
    Ma
    You can’t take Ma seriously. It’s a squalid formula picture that’s too busy connecting dots, hitting beats, engineering situations designed to make you squirm. But you will squirm.
    • 48 Metascore
    • 60 Owen Gleiberman
    You won’t feel cheated; at stray moments, you’ll feel the wonder. But for every high point, there’s a moment when the thrill threatens to leak away.
    • tbd Metascore
    • 50 Owen Gleiberman
    On a Magical Night is whimsically cute, provocative in a coy way, and more than a little in love with itself.
    • 54 Metascore
    • 60 Owen Gleiberman
    A movie that’s a loosely structured ramble can work, and about half of “Tommaso” feels more vital than anything Ferrara has made in a while. But the film should have been shapelier and 20 minutes shorter, with a more focused dramatic psychology.
    • 54 Metascore
    • 60 Owen Gleiberman
    There are a few surprises in “Frankie,” and the movie, in its placid way, wants to deliver a tug of revelation of what life is about. The trouble is, life at the end of this day doesn’t look very much different than it did at the start of the day.
    • 84 Metascore
    • 80 Owen Gleiberman
    DiCaprio and Pitt fill out their roles with such rawhide movie-star conviction that we’re happy to settle back and watch Tarantino unfurl this tale in any direction he wants.
    • 75 Metascore
    • 60 Owen Gleiberman
    It’s a heady, engrossing, indulgently sprawling profile of a modern athlete in all his glory and contradiction, but it’s also a film that leaves you with more questions than it should.
    • 91 Metascore
    • 90 Owen Gleiberman
    The movie, building on “The Witch,” proves that Robert Eggers possesses something more than impeccable genre skill. He has the ability to lock you into the fever of what’s happening onscreen.

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