Owen Gleiberman

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For 3,216 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 Our Song
Lowest review score: 0 Death of a Nation
Score distribution:
3216 movie reviews
    • 77 Metascore
    • 90 Owen Gleiberman
    White Noise is a deadly serious movie, but it is also, in a certain way, a funny one, because it captures the comedy of how much trouble even the influencers of hate now have squaring their lives with their belief systems
    • 47 Metascore
    • 70 Owen Gleiberman
    Anne Hathaway’s performance provides the film with a sick-joke center of gravity, and Zemeckis, sticking to Dahl’s elemental storyline, stages it all with a prankish flair that leaves you buzzed.
    • 69 Metascore
    • 70 Owen Gleiberman
    “Fireball” is a documentary about meteorites, but what makes it a Herzog film is that it’s in love with meteorites.
    • tbd Metascore
    • 70 Owen Gleiberman
    Becoming a successful stand-up comic is an uphill climb, one that not everybody is cut out for, and The Opening Act is a likable ode to those hard knocks.
    • 29 Metascore
    • 30 Owen Gleiberman
    It’s a softheaded piece of morbid romantic treacle — two parallel cloying love stories for the price of one.
    • 45 Metascore
    • 50 Owen Gleiberman
    It’s a serviceably energized and routine action crime movie, with a few slammin’ fistfights and gun battles, and it proves once again that Liam Neeson is an actor who will take a paycheck gig without treating it like one.
    • 34 Metascore
    • 30 Owen Gleiberman
    The combat is neither funny nor intense. The War with Grandpa is like “Home Alone” replayed as a tit-for-tat battle of logistical booby traps that never rises above the innocuous slapstick benign.
    • 45 Metascore
    • 70 Owen Gleiberman
    The Lie is far from a total success, but it has enough tension and talent to make you hope that Blumhouse keeps aiming a quiet thriller or two at adults.
    • 85 Metascore
    • 70 Owen Gleiberman
    Yet Red, White and Blue mostly lacks the gritty period flavor of the other Small Axe films. It’s a little glossed over. The (minor) daring of the movie is its downbeat narrative. It’s structured like the air seeping out of a tire, so that it presents us with a character of idealistic strength, commitment, and personal heroism only to plop him into a set of circumstances that won’t allow him to be a hero.
    • tbd Metascore
    • 40 Owen Gleiberman
    It’s the casualness of the drug use, extreme yet just another part of life, that’s the 2020 element. Kristen wants to have her dope and eat it too. And that means turning herself into an invisible junkie.
    • 70 Metascore
    • 70 Owen Gleiberman
    What holds the movie together, apart from Quinto’s dreamy geek mystique and delectable delivery of every line, is the tormented passion that Jim Parsons brings to it.
    • 76 Metascore
    • 90 Owen Gleiberman
    Aaron Sorkin’s The Trial of the Chicago 7 is the rare drama about the 1960s that’s powerful and authentic and moving enough to feel as if it were taking place today.
    • 82 Metascore
    • 90 Owen Gleiberman
    What’s most moving about Oliver Sacks: His Own Life is that Sacks, whose extreme love of existence was there in every sentence he wrote, could embrace death because it would be the most out-there adventure of his life. What he saw is that we were all, in our ways, afflicted and all unique. And therefore all extraordinary.
    • 73 Metascore
    • 80 Owen Gleiberman
    On the Rocks turns into a boozy humanistic hang-out caper movie, one that’s light-spirited and compelling, mordantly alive to the ins and outs of marriage, and a winning showcase for Murray’s aging-like-fine-whisky brand of world-weary deviltry.
    • 76 Metascore
    • 70 Owen Gleiberman
    MLK/FBI leaves you wanting more, but it provides a gripping chapter in the story of how the forces of American power set out to destroy one of America’s greatest leaders, even as his private behavior had the effect of handing them a weapon.
    • 93 Metascore
    • 90 Owen Gleiberman
    Lovers Rock is nothing more (or less) than a snapshot of an era, a moment, a series of lives. Yet it lingers like a song you don’t want to get out of your head.
    • 67 Metascore
    • 80 Owen Gleiberman
    A sleekly unnerving thriller.
    • 71 Metascore
    • 80 Owen Gleiberman
    Given its gnarly small focus, Hopper/Welles is surprisingly entertaining to sit through.
    • 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.
    • 81 Metascore
    • 90 Owen Gleiberman
    King turns One Night in Miami into a real movie, staging it with a flowing visual confidence and vibrant emotional flair that gives it a fly-on-the-wall authenticity.
    • 55 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.
    • 93 Metascore
    • 100 Owen Gleiberman
    There’s nothing ironic about the title of American Utopia. It’s David Byrne and Spike Lee reveling in the majesty, and hidden magic, of the here and now.
    • 78 Metascore
    • 90 Owen Gleiberman
    A powerfully timely and absorbing documentary.
    • 57 Metascore
    • 80 Owen Gleiberman
    The Broken Hearts Gallery pushes all the rom-com buttons but does it knowingly, with a spirit that embraces killer cynicism and then comes out the other side.
    • 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
    • 90 Owen Gleiberman
    A documentary that’s honest and scary, wrenching and moving.
    • 77 Metascore
    • 70 Owen Gleiberman
    Candace Against the Universe has been made for “Phineas and Ferb” believers, and like such hipster kiddie brand extensions as “Teen Titans Go! To the Movies,” it’s not necessarily more fun than three good episodes of the show stacked together. But that’s fun enough.
    • 65 Metascore
    • 80 Owen Gleiberman
    The film is weightless and super-goofy — a blissed-out air balloon of nostalgia. It zips right along, it makes you smile and chortle, it’s a surprisingly sweet-spirited love story.
    • 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.

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