Owen Gleiberman

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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 Encounters at the End of the World
Lowest review score: 0 Pinocchio
Score distribution:
3201 movie reviews
    • 66 Metascore
    • 70 Owen Gleiberman
    An engaging and surprisingly playful documentary about the man who was arguably the most transgressive photographer to emerge from the 1960s and ’70s.
    • 63 Metascore
    • 70 Owen Gleiberman
    There’s some crafty artistry at work in The Rental, and also some fairly standard pandering, which feels like a violation of the movie’s better instincts. That said, most of it is skillful and engrossing enough to establish Franco as a director to watch.
    • 71 Metascore
    • 70 Owen Gleiberman
    The documentary tells the fascinating, and moving, tale of how Trejo got off the road to ruin and became the unlikeliest of Hollywood character actors.
    • 64 Metascore
    • 70 Owen Gleiberman
    When the mortars aren’t firing, the movie ebbs, flows, occasionally sags, and sometimes rivets.
    • 70 Metascore
    • 70 Owen Gleiberman
    It’s like an immortal-mercenary hangout movie. Chunks of the picture are logy and formulaic (it dawdles on for two hours), but the director, Gina Prince-Bythewood (making a major lane change after “Love & Basketball” and “The Secret Life of Bees”), stages the fight scenes with ripe executionary finesse, and she teases out a certain soulful quality in her cast.
    • 74 Metascore
    • 70 Owen Gleiberman
    So what is The Ghost of Peter Sellers? It’s a record of what it was like to shoot an empty shambolic piece of junk that drained the coffers of everyone involved. It’s a record of the kind of damage that a debonair misfit like Peter Sellers could cause when he put his mischievous (and maybe, in some ways, unstable) mind to it.
    • 50 Metascore
    • 30 Owen Gleiberman
    It’s a badly shot one-joke movie that sits there and goes thud.
    • 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.
    • 85 Metascore
    • 80 Owen Gleiberman
    Athlete A is a testament to their perseverance, and to the courage of all those who stood up in court to face the man who had violated their humanity. But it’s also a testament to the obsession that gave cover to their abuse — to a culture that wanted winners at any cost.
    • 46 Metascore
    • 70 Owen Gleiberman
    The movie won’t disturb your dreams, but it grabs hold of you and keeps tugging.
    • 66 Metascore
    • 70 Owen Gleiberman
    The fascination of You Don’t Nomi is that it doesn’t find some fatal contradiction among the three views. “Showgirls,” it says, is a bad movie that also is a tasty slice of kitsch that also is a flawed but honestly bracing drama.
    • 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.
    • tbd Metascore
    • 20 Owen Gleiberman
    This is a fuzzy-headed, badly made cheeseball schlock fable for everyone!
    • 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.
    • 69 Metascore
    • 70 Owen Gleiberman
    The Trip to Greece marks a spirited and convivial return to form, even if it’s lofty enough to present Coogan and Brydon’s six-day journey through Greece as a retracing of the path of Odysseus.
    • 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.
    • tbd Metascore
    • 70 Owen Gleiberman
    Kubrick by Kubrick is most interesting for the ways that it undercuts the Kubrick mythology.
    • 73 Metascore
    • 70 Owen Gleiberman
    This is a movie that provokes a consistent sense of “Whoa!” By the end, you’ll know with greater clarity than you did before why we’re in the mess we’re in.
    • 60 Metascore
    • 80 Owen Gleiberman
    All Day and a Night is made with empathy and skill, but it’s as clear-eyed and remorseless as a news report.
    • 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.
    • 74 Metascore
    • 80 Owen Gleiberman
    Beastie Boys Story is less seamless, but more personal, than a classic documentary. Horovitz and Diamond are infectious company, and the film does a meticulous job of presenting the evolution of Adam Yauch, who was always on the edge of technology (it was his idea to tape-loop “When the Levee Breaks”), as well as postmodern pranksterism.
    • 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.
    • 41 Metascore
    • 70 Owen Gleiberman
    It unfolds, more or less, in real time, which gives it an existential comedy-of-suspense element that trumps the usual Styrofoam rom-com plotting. The classical music playing in the background doesn’t make the film stodgy; it creates a sustained operatic flow. And the actors are simply terrific.
    • 27 Metascore
    • 30 Owen Gleiberman
    As it goes on, this all becomes a marketing hook for an increasingly flaked-out fantasy.
    • 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.”

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