Owen Gleiberman

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For 2,463 reviews, this critic has graded:
  • 66% higher than the average critic
  • 2% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 4.5 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 13th
Lowest review score: 0 Crime and Punishment in Suburbia
Score distribution:
2463 movie reviews
    • 83 Metascore
    • 100 Owen Gleiberman
    A funny and madly arresting new documentary.
    • 55 Metascore
    • 100 Owen Gleiberman
    If ever there were an actor ripe to ''McConaughnesize'' his career, it's Jude Law — and guess what, he has done it, spectacularly, in Dom Hemingway.
    • 72 Metascore
    • 100 Owen Gleiberman
    To call Match Point Woody Allen's comeback would be an understatement - it's the most vital return to form for any director since Robert Altman made "The Player."
    • 90 Metascore
    • 100 Owen Gleiberman
    It's a mad cycle of arrogance and despair, and Bloody Sunday etches it onto your nervous system.
    • 94 Metascore
    • 100 Owen Gleiberman
    It whisks you to another world, then makes it every inch our own.
    • 66 Metascore
    • 100 Owen Gleiberman
    To say that Eastwood, who directed, has done a first-rate job of adaptation fails to do him justice. What he's brought off is closer to alchemy.
    • 97 Metascore
    • 100 Owen Gleiberman
    Raoul Peck’s I Am Not Your Negro is the rare movie that might be called a spiritual documentary.
    • 80 Metascore
    • 100 Owen Gleiberman
    As tricky and satisfying as any of David Mamet's airless cinematic shell games. Mamet's films are all plot and no atmosphere; this one has a squalid, urban-greed-meets-the-gutter mood that lends its filigreed cleverness an unusually resonant kick.
    • 92 Metascore
    • 100 Owen Gleiberman
    Toy Story 3 is a salute to the magic of making believe.
    • 80 Metascore
    • 100 Owen Gleiberman
    What it does have is an overwhelming bittersweet melancholy at the passing of life from middle age into…well, you could call it late middle age.
    • 82 Metascore
    • 100 Owen Gleiberman
    Emotionally mesmerizing.
    • 96 Metascore
    • 100 Owen Gleiberman
    They're like gods at play, paragons of pure delight, as they mock and feign their way through a universe of mere mortals. To see the movie again is to realize that they were never entirely of this earth and that they never will be.
    • 79 Metascore
    • 91 Owen Gleiberman
    Working with affectionate mockery, the Coens take the cinder-block-synagogue banality of American Jewish life in 1967 and make it look as archly exotic as the loopy Scandinavian-American winterscape of "Fargo."
    • 57 Metascore
    • 91 Owen Gleiberman
    It's not art, but it's mighty fun.
    • 71 Metascore
    • 91 Owen Gleiberman
    Greenwald floats the vital issue of whether Wal-Mart should be restrained by antimonopoly regulations, but his real question is cultural: Even with its rock-bottom prices, is Wal-Mart in the best interest of American consumers?
    • 56 Metascore
    • 91 Owen Gleiberman
    You'll laugh - a lot - but you'll also shed tears of recognition at this funny, salty, strife-torn look at the agony and ecstasy of family.
    • 74 Metascore
    • 91 Owen Gleiberman
    Cyrus cues us to expect it to go over the top, but the film never does. That may be its neatest trick
    • 59 Metascore
    • 91 Owen Gleiberman
    This Is 40 isn't always hilarious, but it's ticklishly honest and droll about all the things being a parent can do to a relationship. And why it's still worth it.
    • 73 Metascore
    • 91 Owen Gleiberman
    If the result is often as glib as the targets it's satirizing, it's also driven by a cruelly distilled joy. Wag the Dog is an ode to the thrill of deception, a thrill embodied in Hoffman's inspired performance.
    • 77 Metascore
    • 91 Owen Gleiberman
    Brashly engaging.
    • 82 Metascore
    • 91 Owen Gleiberman
    Here, in paranoid, bad acid trip form, is the real birth of girl power.
    • 65 Metascore
    • 91 Owen Gleiberman
    Branagh, chewing on a plummy Georgia accent, makes the divorced, boozing, and womanizing Magruder a smug yet touchingly vulnerable legal player.
    • 39 Metascore
    • 91 Owen Gleiberman
    Anyone who thinks that Josh Hartnett isn't a true movie star should see his riveting, high-wire performance in August.
    • 75 Metascore
    • 91 Owen Gleiberman
    Has a rowdy, jumpin'-jive vivacity. It's not quite as emotionally rounded as ''Shrek'' was... but it's got heart and delirium in equal doses, as well as a firecracker rhythm all its own.
    • 64 Metascore
    • 91 Owen Gleiberman
    Spins a thorny tale of political corruption laced with personal sleaze.
    • 73 Metascore
    • 91 Owen Gleiberman
    Buoyantly clever and amusing.
    • 82 Metascore
    • 91 Owen Gleiberman
    Dark and giddy at the same time, Leaving Las Vegas takes us into dreamy, intoxicated places that no movie about an alcoholic has gone before.
    • 73 Metascore
    • 91 Owen Gleiberman
    Ray
    As a musical biography, Ray is driven by the primal excitement of rock-and-soul at the moment of its discovery.
    • 52 Metascore
    • 91 Owen Gleiberman
    A haunted-house movie that has some of the most shivery and indelible images I've seen in any horror film in decades. Yes, it's that unsettling.
    • 48 Metascore
    • 91 Owen Gleiberman
    An artful piece of exploitation vérité.