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 Going Upriver: The Long War of John Kerry
Lowest review score: 0 Crime and Punishment in Suburbia
Score distribution:
3201 movie reviews
    • 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.
    • 60 Metascore
    • 40 Owen Gleiberman
    Crawl has no pretense and not very much range; it’s “Jaws” set in an old dark house.
    • 65 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.
    • 53 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.
    • 66 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.
    • 56 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.
    • 83 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.
    • 78 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.
    • 83 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.
    • 82 Metascore
    • 90 Owen Gleiberman
    Another intimate and powerful drama about what’s going on in people’s everyday lives. ... Loach stages all of this with supreme confidence and flow.
    • 60 Metascore
    • 80 Owen Gleiberman
    An artfully unnerving, austerely hypnotic horror movie about a very sinister plant.
    • 65 Metascore
    • 80 Owen Gleiberman
    A loopy entertaining WTF lark. ... The fact that it holds you, for 77 minutes, is a testament to the debauched rigor of Dupieux’s filmmaking.
    • 53 Metascore
    • 50 Owen Gleiberman
    The Dead Don’t Die fancies itself a cutting-edge macabre comedy, but the truth is that it’s behind the curve of pop culture. That’s why it’s a disappointing trifle.
    • 74 Metascore
    • 70 Owen Gleiberman
    It’s a movie of minor fascinations and seductions; it exerts the pull of a natural-born filmmaker’s eye.
    • 35 Metascore
    • 60 Owen Gleiberman
    The Hustle, fun as some of it is, is a tall fizzy drink in which the fizz never completely rises to the top of the glass.
    • 51 Metascore
    • 40 Owen Gleiberman
    It doesn’t sentimentalize Theo’s illness (much) or pull back from how disconnected he can be. “Lost Transmissions” may even sound like it deserves props for its straight-up, objective view of mental illness. Except for one small detail: That stance ends up removing the basic dramatic motor of the film.
    • 55 Metascore
    • 40 Owen Gleiberman
    In Yesterday, [Boyle and Curtis] reduce the Beatles to the ultimate product by declaring, at every turn, “These songs are transcendent!” And it’s the fact that they keep telling us, rather than showing us (i.e., with musical sequences that earned their transcendence), that makes Yesterday, for all the timeless songs in it, a cut-and-dried, rotely whimsical, prefab experience.

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