Owen Gleiberman

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For 3,368 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 0.7 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Perks of Being a Wallflower
Lowest review score: 0 My Date with Drew
Score distribution:
3368 movie reviews
    • 78 Metascore
    • 70 Owen Gleiberman
    Ailey, directed by Jamila Wignot, doesn’t always answer the questions you expect it to. It can be a tantalizing watch, but it’s a poetic and meditative documentary that often skimps on the nuts and bolts.
    • 72 Metascore
    • 70 Owen Gleiberman
    Individual moments are gripping, and Kirby’s performance puts its queasy hooks in you, but the film, overall, has a scattershot momentum until the last act, set in 1989, when Bundy is about to be executed.
    • 72 Metascore
    • 60 Owen Gleiberman
    No Sudden Move, for all its pleasures, doesn’t quite make the old seem new again.
    • 77 Metascore
    • 80 Owen Gleiberman
    Even if you think you know it all, “Long Promised Road” is an affectionate and satisfying movie, sentimental at times but often stirringly insightful, a collection of pinpoint testimonials to Wilson’s artistry by such authoritative fans as Springsteen and Elton John, and a movie that lets the enchanting qualities of Wilson’s music cascade over you.
    • 53 Metascore
    • 60 Owen Gleiberman
    It transitions Hart from playfully scowling cutup to earnest heartfelt actor, and it does so in a way that, at times, is genuinely touching, even as the audience can see every sanded-down conflict and market-tested beat falling into place.
    • 71 Metascore
    • 60 Owen Gleiberman
    Luca, set in Italy in the ’50s, is modest to a fault, and at times it feels generic enough to be an animated feature from almost any studio. But it’s a visually beguiling small-town nostalgia trip, as well as a perfectly pleasant fish-out-of-water fable — literally, since it’s about a boy sea monster who longs to go ashore.
    • 78 Metascore
    • 90 Owen Gleiberman
    The film presents a psychological, almost novelistic portrait of how Bourdain evolved as a person during the years of his celebrity.
    • 32 Metascore
    • 40 Owen Gleiberman
    So is it, you know, fun? At times it is; at others it’s exhausting. Let’s call the whole thing fun-xhausting.
    • 74 Metascore
    • 80 Owen Gleiberman
    Plan B is a girls-behaving-badly all-night-long road-trip comedy that’s built on a formula chassis, but it’s fast and funny, with a scandalous spirit, and it’s got a couple of lead performances that, if there’s any justice, should have the town talking.
    • 77 Metascore
    • 80 Owen Gleiberman
    Two Lottery Tickets is an existential-absurdist, dirty-kitchen-sink vision of ordinary lives that’s just funny and invigorating enough to hit a note of truth.
    • 53 Metascore
    • 50 Owen Gleiberman
    The new film lacks that kinetic haunted-house element. It’s the most somber and meditative and least aggressive of the “Conjuring” films. It’s out to deepen the series’ portrait of the Warrens, and damned if Patrick Wilson, with his gentle tenacity and Pat Boone grin, and Vera Farmiga, who plays Lorraine the psychic in high Victorian collars and embodies her gift with a feverish purity, don’t succeed in making Ed and Lorraine the coziest fighters of evil the movies have ever seen.
    • 80 Metascore
    • 90 Owen Gleiberman
    The hell we see here isn’t heightened; it’s graphic and terrifying. Yet the greatest terror may be that it was necessary. Apocalypse ’45 is a haunting document of men who fought their way through hell to save all of us.
    • 52 Metascore
    • 70 Owen Gleiberman
    It omits a crucial detail of the “Play” success story (that the album took off through the licensing of songs for commercials — not that there’s anything wrong with that). But it captures the astonishing ride to icon status it put Moby on. He didn’t stop drinking and drugging; that would take years. But he found a groove he could stay on, even after the mega-sales cooled.
    • 60 Metascore
    • 80 Owen Gleiberman
    All I Know So Far is a singular portrait of the larger-than-life rock rebel as life-size mom.
    • 56 Metascore
    • 50 Owen Gleiberman
    F9
    Considering that “F9” is Lin’s fifth “F and F” film and his first one in eight years, it goes through the motions with more energy than intoxication.
    • 41 Metascore
    • 30 Owen Gleiberman
    The Woman in the Window would like to be a contempo “Rear Window,” but it’s so riddled with things you can’t buy that it plays like a bad Brian De Palma movie minus the camera movement.
    • 40 Metascore
    • 40 Owen Gleiberman
    No, the “Saw” series hasn’t really changed. So depending on whether you’re a fan or not, eat up…or throw up.
    • 69 Metascore
    • 70 Owen Gleiberman
    Some of this is stirring stuff, and all of it is worth learning about, but as a documentary Citizen Penn is more diligent than riveting.
    • 57 Metascore
    • 60 Owen Gleiberman
    It has a pleasing brawn and sweep, and you get caught up in it. As meat-and-potatoes escapism, it’s good diner food served with extra ketchup.
    • 40 Metascore
    • 60 Owen Gleiberman
    What’s good about the movie is that Crystal, who co-wrote and directed it, has an inside knowledge of the showbiz comedy world (as he demonstrated in 1992 when he directed and starred in the acerbically accomplished “Mr. Saturday Night”), and the prickly vivacity with which he portrays it roots the movie in something real.
    • 49 Metascore
    • 50 Owen Gleiberman
    What lies beneath Things Heard & Seen are clichés.
    • 41 Metascore
    • 70 Owen Gleiberman
    Tom Clancy’s Without Remorse is a lively formulaic action-hero origin story, dunked in combat grunge, that demonstrates how a resourceful lead actor can bend and heighten the meaning of a commercial thriller.
    • 63 Metascore
    • 70 Owen Gleiberman
    Joe Penna knows how to make a movie that holds you without being pushy about it. His voice as a filmmaker comes through, even in a genre as studded with commercial tropes as this one.
    • 58 Metascore
    • 60 Owen Gleiberman
    Monday, shot with a mostly Greek crew, has been made with some liveliness and skill, and the two actors really fuse. . . . But Papadimitropoulos treats most of the film as if he were making “Blue Valentine” or “Head-On”: a study in masculine narcissism.
    • tbd Metascore
    • 70 Owen Gleiberman
    Brendan Fitzgerald, the director of The Oxy Kingpins, fills in the nuts and bolts of how the racket actually operated the way Scorsese did in “The Wolf of Wall Street” and “Casino,” giving the audience a wide-eyed, engrossing, information-packed street-smart tutorial.
    • 34 Metascore
    • 50 Owen Gleiberman
    In general le cinéma de Falcone is not a pretty (or hilarious) thing. Thunder Force is, at best, more a light chuckler than a laugher.
    • 44 Metascore
    • 50 Owen Gleiberman
    Voyagers is a dutiful thriller about the beast within, but there’s not a lot of surprise to it. Even when the characters let themselves go, the drama remains in lockdown.
    • 54 Metascore
    • 60 Owen Gleiberman
    The film asks us to indulge and share the privacy of its characters. That’s its moody, free-floating allure.
    • tbd Metascore
    • 50 Owen Gleiberman
    "Amundsen” is a visually stately yet naggingly underscripted movie that never quite finds its dramatic center.
    • 32 Metascore
    • 50 Owen Gleiberman
    The movie carries you along, and it’s got some high-tension moments, but there are one too many coincidental running-into-each-other-in-town close encounters.

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