Owen Gleiberman

Select another critic »
For 3,201 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 1.3 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Going Upriver: The Long War of John Kerry
Lowest review score: 0 Crime and Punishment in Suburbia
Score distribution:
3201 movie reviews
    • 72 Metascore
    • 40 Owen Gleiberman
    Another Round is the kind of movie that’s so into its cool concept that it doesn’t sweat the details. Yet the film’s sloppy broadness ends up fighting the Dogme style, which keeps telling us that these people are authentic.
    • 54 Metascore
    • 40 Owen Gleiberman
    The Devil All the Time shows us a lot of bad behavior, but the movie isn’t really interested in what makes the sinners tick. And without that lurid curiosity, it’s just a series of Sunday School lessons: a noir that wants to scrub away the darkness.
    • 65 Metascore
    • 60 Owen Gleiberman
    It’s still, in the end, a bit of a connect-the-inspirational-dots movie, but that doesn’t mean you won’t be inspired.
    • 78 Metascore
    • 40 Owen Gleiberman
    It’s not just a quirky, morose downer of a movie — it’s didactically morose.
    • 66 Metascore
    • 60 Owen Gleiberman
    Is Arquette a has-been actor trumping up his biggest failure so that he can exploit it? Or is he a lionhearted wrestler who finds triumph by going the distance? The weird thing is that there’s no difference.
    • 67 Metascore
    • 60 Owen Gleiberman
    Cut Throat City has vivid moments, but RZA’s direction is better than P.G Cuschieri’s script. The film is a muddled social-protest thriller that tries to bridge the corrupt machinations upstairs with the desperation of the streets, and can’t find a way to connect them convincingly.
    • 51 Metascore
    • 50 Owen Gleiberman
    Project Power has propulsion, little detonations of visual magic, the resonant setting of a still desperate New Orleans, and a better cast than a movie like this one tends to have. Yet watching it, you may find yourself aware of how patched together the whole thing is.
    • 62 Metascore
    • 50 Owen Gleiberman
    In its top-heavy image-driven way, The Secret Garden is trying for some of the atmospheric poetry that was missing from Agnieszka Holland’s 1993 version. Yet if anything, that just makes it fall further away from the novel’s essence. The garden isn’t a supernatural place, but it’s supposed to be a mystical place. In this movie, it comes closer to being a special effect.
    • 58 Metascore
    • 40 Owen Gleiberman
    Of course, the essence of the fish-out-of-water comedy is that it’s never been a realistic genre — it’s pure Hollywood fantasy. Yet An American Pickle, in its ethnically satirical and scattered way, lacks the integrity of its own ridiculousness. It’s pungent but flavorless: an unkosher dill.
    • 70 Metascore
    • 60 Owen Gleiberman
    Rebuilding Paradise is a movie that shows us a great deal without necessarily exploring what it shows.
    • 47 Metascore
    • 60 Owen Gleiberman
    Irresistible scores points yet feels behind the curve. You wish it were a bold satirical bulletin, or maybe just Stewart’s pricelessly amusing version of a Christopher Guest movie. Instead, the film is a lot like a politician: It makes a big show of leading the viewer, but without rocking the boat.
    • 67 Metascore
    • 60 Owen Gleiberman
    If there were any lingering doubts that Pete Davidson has what it takes to be a terrific actor, this movie should dispel them. In “The King of Staten Island,” he holds the screen with his blinkered, scurrilous, and oddly innocent I did-what? personality, and for the first time he makes the sociopathic goofball he’s playing a fully dimensional presence.
    • 54 Metascore
    • 60 Owen Gleiberman
    Why watch Screened Out? Because it shows you something you didn’t know.
    • 58 Metascore
    • 40 Owen Gleiberman
    The script of The High Note, by Flora Greeson, is long on wish-fulfillment and short on inside authority, and the director, Nisha Ganatra (“Late Night”), stages it with a hit-or-miss geniality that keeps cutting corners on the story’s emotional honesty. The feel-good factor hovers over this movie like a fuzzy bland cloud.
    • 59 Metascore
    • 50 Owen Gleiberman
    Bits and pieces of the movie are funny.
    • 33 Metascore
    • 50 Owen Gleiberman
    The Wrong Missy is a harmless dumb-meets-smart-mouth comedy that doesn’t necessarily feed your appetite for more Netflix throwaways. But it does make you want to see Lauren Lapkus’s next act.
    • 46 Metascore
    • 50 Owen Gleiberman
    Handsomely shot and small of scale, Capone ambles along without catching fire. That’s because the movie, at heart, is shaped as a pedestal for Hardy’s prankish mumbly Method showboating.
    • 42 Metascore
    • 50 Owen Gleiberman
    McGowan knows how to invest ire with intelligence, and he has mastered the art of making riding a horse look like a form of strutting. When he’s onscreen, the film vibrates. When you’re watching MacFadyen’s Robert, it swells with nobility and deflates at the same time.
    • 53 Metascore
    • 50 Owen Gleiberman
    In The Quarry, sin has its wages, but that’s all it has. It’s too dry to offer anything like temptation.
    • 48 Metascore
    • 50 Owen Gleiberman
    The movie gives us only a small taste of it, but it’s enough to whet your appetite: for a Bowie biopic that captures this cracked actor in all his funhouse-mirror rock ‘n’ roll glory.
    • 55 Metascore
    • 60 Owen Gleiberman
    We Summon the Darkness is a psycho thriller that pulls the bloody rug out from under you, and does it in a shivery sly way.
    • tbd Metascore
    • 50 Owen Gleiberman
    When someone finally make that great drama about our national addictions, it will need to be a more complex horror film. This one is a little too much “Alien Invaders,” not enough “They Came From Within.”
    • 51 Metascore
    • 60 Owen Gleiberman
    Yet for all its surface pleasures, it’s a likable but underimagined one, with more enthusiasm than surprise and, at the same time, an overprogrammed sense of its own thematic destiny.
    • 61 Metascore
    • 60 Owen Gleiberman
    The herd’s endless quest to find water becomes a repetitive (and rather dry) theme. And to the extent that super-square anthropomorphic Disney filmmaking isn’t merely a form but a skill, I never felt overwhelmingly close to Gaia or Shanti or Jomo. The Disney nature films have always had a certain hermetic quality, but this one feels more sealed-off than usual.
    • 63 Metascore
    • 60 Owen Gleiberman
    The director, Benjamin Kasulke, is a veteran cinematographer who brings the L.A. settings a spangly glow, but he stages too many scenes with generic “punch.” I wish he’d played against the comedy instead of italicizing it, and that he’d come up with some pop-music epiphanies and ditched the film’s cloying synthesizer score.
    • 64 Metascore
    • 40 Owen Gleiberman
    Vivarium has a canny visual design (you won’t soon forget the rows of Monopoly houses), but the movie becomes an example of the imitative fallacy. It makes the audience feel deadened too.
    • 47 Metascore
    • 40 Owen Gleiberman
    This is a subject that deserves a rigorous documentary exploration, like Alison Klayman’s must-see psychotropic exposé “Take Your Pills.” But Dosed isn’t that kind of movie.
    • 59 Metascore
    • 50 Owen Gleiberman
    You may wish that you were reading about these events in The New Yorker, because the movie is so choked with neutral detail that it’s a little bloodless. It lacks fire.
    • 66 Metascore
    • 50 Owen Gleiberman
    I’d love to see Affleck star in a film about an addict with nothing to explain his addiction but his own flawed, desperate, hungry soul. That’s a movie that could speak to us — the way that Ben Affleck’s real story already does — far more than this modestly well-made Sunday-school lesson.
    • 47 Metascore
    • 60 Owen Gleiberman
    For all the wholesome cheesiness of much of the film, you’d have to have a pretty hard heart not to be touched by it.

Top Trailers