Owen Gleiberman

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For 2,537 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 4.1 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 I Shot Andy Warhol
Lowest review score: 0 Femme Fatale
Score distribution:
2537 movie reviews
    • 74 Metascore
    • 50 Owen Gleiberman
    As a fantasy, Orlando has been spun out of a rather glib idea: that the mere assertion of Androgyny As Destiny is automatically a brave, emotionally triumphant stance for our time. The truth is, when androgyny is shrouded in this much deadening ”art,” it becomes little more than a haughty exercise in academic chic.
    • 49 Metascore
    • 50 Owen Gleiberman
    Soul Men could have done with less amped-up abrasiveness and more soft-shoe charm.
    • 40 Metascore
    • 50 Owen Gleiberman
    There's only one performer in the movie who looks completely at ease with what he's doing: the horse.
    • 49 Metascore
    • 50 Owen Gleiberman
    By the end, the main thing that's been abused is the audience's intelligence.
    • 41 Metascore
    • 50 Owen Gleiberman
    Thorogood allegedly confessed on his deathbed (in 1993) that he killed Jones, and while the movie convinces us that this might have happened, it never truly reveals who Brian Jones was before he fell apart. His indulgence, and his demise, play out in a void.
    • 34 Metascore
    • 50 Owen Gleiberman
    The trouble with this stunted sequel is that the doughy, blobby-hatted Smurfs are mostly window dressing for an abrasive slapstick bash built around a tiresome kidnap plot, pancake-flat gags about Facebook and ''Smurf-holm Syndrome,'' and Neil Patrick Harris mugging his way through the role of a daddy with daddy issues who once again helps out our heroes.
    • 69 Metascore
    • 50 Owen Gleiberman
    The Farrellys may well be the new kingpins of adolescent slob comedy, but There's Something About Mary doesn't approach the witty anarchy of movies like "Animal House," "The Naked Gun," or "Hairspray."
    • 64 Metascore
    • 50 Owen Gleiberman
    This rotely cheeky, Anglo-plastic adultery comedy is set in the golden-green English countryside, and it makes a few quirky nods toward artistry, but it's really just a glib concoction.
    • 57 Metascore
    • 50 Owen Gleiberman
    The Secret Life of Bees is a lesson -- or, rather, a whole series of them -- we no longer need to learn. Of course, it's also a divine-sisterhood-defeats-all chick flick, and on that score there's no denying that its clichés are rousingly up to date.
    • 72 Metascore
    • 50 Owen Gleiberman
    The movie is so prefab, so plastically aware of being ''corny,'' ''romantic,'' and ''old-fashioned,'' that it feels programmed to make you fall in love with it.
    • 84 Metascore
    • 50 Owen Gleiberman
    Maddin chops it up into a feature-length antique-bloodsucker video, and the result takes hold neither as dance nor as silent horror dream.
    • 37 Metascore
    • 50 Owen Gleiberman
    The trouble is that the movie plays it boringly straight.
    • 23 Metascore
    • 50 Owen Gleiberman
    The film should have been called ''Lock, Stock and Two Wilting Barrels.''
    • 58 Metascore
    • 50 Owen Gleiberman
    As a fairy-tale confection, a kind of West Side Story in Jamestown, Pocahontas is pleasant to look at, and it will probably satisfy very small kiddies, but it's the first of the new-era Disney cartoons that feels less than animated.
    • 24 Metascore
    • 50 Owen Gleiberman
    An idiot variation on Frank Capra's ''Mr. Deeds Goes to Town,'' might have been thrown together in even less time than it takes Sandler to get dressed in the morning; it feels sort of like the dumbest corporate comedy of 1987.
    • 61 Metascore
    • 50 Owen Gleiberman
    It turns out that speeding along dirt roads isn't nearly as photogenic - or as varied - as surfing is.
    • 53 Metascore
    • 50 Owen Gleiberman
    The movie is too cute to lose its head in the music. It never generates its own ecstasy.
    • 56 Metascore
    • 42 Owen Gleiberman
    Foster, working from a patchy, meandering script by W.D. Richter, produces scene after scene of rudderless banter. The movie is all asides, all nattering; the actors seem lost in their busy, fractious shticks.
    • 69 Metascore
    • 42 Owen Gleiberman
    There's no denying that Washington can play a rococo villain with flip ebullience, but I fervently wish he were doing it in a movie that paid more than lip service to the real world.
    • 30 Metascore
    • 42 Owen Gleiberman
    The movie is based on a 1999 series of comic books by Alan Moore and Kevin O'Neill, but the original tone of deadpan historical audacity has been replaced by a kind of wax-museum literalness.
    • 65 Metascore
    • 42 Owen Gleiberman
    More and more independent filmmakers seem to be cobbling together characters and scenes that have surface hook and flash without organic emotional logic.
    • 31 Metascore
    • 42 Owen Gleiberman
    Graham makes the coming-out dithering bearable, but not before she has jumped through hoops of contrivance.
    • 37 Metascore
    • 42 Owen Gleiberman
    It's a solemnly preposterous piece of designer revenge pulp, with actors who stand around bathed in red and blue light like David Lynch mannequins in between scenes of torture and murder.
    • 40 Metascore
    • 42 Owen Gleiberman
    It wants to be "Good Will Hunting" set in the land of "Entourage," but its bummed-out touchy-feeliness is every bit as concocted as its overly jaded showbiz corruption.
    • 37 Metascore
    • 42 Owen Gleiberman
    The surreal thing is, Zac Efron can't do despair.
    • 44 Metascore
    • 42 Owen Gleiberman
    An inert screwball cartoon, a celebration of monogamy as fashion statement.
    • 41 Metascore
    • 42 Owen Gleiberman
    The Limits of Control, even with its flow of star cameos (Tilda Swinton, Gael García Bernal, a frenetic Bill Murray), is a listless long pause that rarely refreshes.
    • 22 Metascore
    • 42 Owen Gleiberman
    This underworld fairy tale is so soggy and sentimental it's like a new genre: Hallmark noir.
    • 19 Metascore
    • 42 Owen Gleiberman
    There are brutal scenes with razor blades and other impromptu devices of erotic torment, but what makes the movie a trial to sit through isn't just the heroine's pain-freak tastes.
    • 59 Metascore
    • 42 Owen Gleiberman
    Dramatically, though, the film is torpid.
    • 47 Metascore
    • 42 Owen Gleiberman
    Yet despite its promising pedigree, Dangerous Minds has a slick, syrupy fraudulence -- it's like an Afterschool Special made for MTV.
    • 45 Metascore
    • 42 Owen Gleiberman
    There are many things wrong with Novocaine, but the film's most gnawing pain is its clodhopper farfetchedness.
    • 56 Metascore
    • 42 Owen Gleiberman
    Neither colorfully brutal nor especially fun. It's a plodding, derivative gothic potboiler: "The Shining" meets "Coraline," with a touch of "Gremlins" played (boringly) straight.
    • 33 Metascore
    • 42 Owen Gleiberman
    54
    There's a glimmer of what the film might have been, though, in the performance of Mike Myers, who plays Studio co-owner Steve Rubell, with his sweaty thinning hair and look-at-me-I-got-class Lacoste shirts, as a vengeful gargoyle presiding over a kingdom of beauty he can rule but never join.
    • 30 Metascore
    • 42 Owen Gleiberman
    Kutcher is the wrong actor to anchor a psychological freak-out.
    • 54 Metascore
    • 42 Owen Gleiberman
    There's precious little in Luc Besson's solemnly inflated, battle-weary historical epic.
    • 51 Metascore
    • 42 Owen Gleiberman
    A dawdling, myopic drama.
    • 27 Metascore
    • 42 Owen Gleiberman
    Cloddish, unfunny dud.
    • 51 Metascore
    • 42 Owen Gleiberman
    One of those tepid, genteel biopics that's far too busy ennobling its hero to bother giving him any recklessly interesting personality traits.
    • 47 Metascore
    • 42 Owen Gleiberman
    A limp and sodden downer.
    • 46 Metascore
    • 42 Owen Gleiberman
    For Woody, it's looking more and more like the end of his days of whine and neurosis.
    • 28 Metascore
    • 42 Owen Gleiberman
    In this year's lump of coal, Matthew Broderick is the control freak who lives for toasty yuletide cheer, and Danny DeVito is the vulgar pest who wants his holiday lights seen from space. The dueling-neighbor crankfest is blah.
    • 33 Metascore
    • 42 Owen Gleiberman
    Graham is charming, but Miss Conception is a cloddish biological-clock bedroom farce.
    • 43 Metascore
    • 42 Owen Gleiberman
    A send-up of rap personality in which no one actually has a personality. The joke, alas, is on the movie.
    • 32 Metascore
    • 42 Owen Gleiberman
    A grisly one-note chase thriller.
    • 50 Metascore
    • 42 Owen Gleiberman
    It's "Bewitched" meets "Fatal Attraction," with one funny bedroom scene, but it was a miscalculation to make Thurman the antagonist.
    • 15 Metascore
    • 42 Owen Gleiberman
    Friendly yet toothless, College musters little energy even as anarchic-party-movie nostalgia.
    • 42 Metascore
    • 42 Owen Gleiberman
    Daredevil is the sort of half-assed, visually lackadaisical potboiler that makes you rue the day that comic-book franchises ever took over Hollywood.
    • 42 Metascore
    • 42 Owen Gleiberman
    The latest reshuffling of "Chainsaw" tropes.
    • 49 Metascore
    • 42 Owen Gleiberman
    Turns into a grab-bag freak show as desperate as it is arbitrary.
    • 36 Metascore
    • 42 Owen Gleiberman
    The movie, with the exception of that lone squirmy surgery scene, is "Hostel" without sadism, thrills, or funky severed-limb F/X. It quickly turns into a very dull escape thriller.
    • 41 Metascore
    • 42 Owen Gleiberman
    If only for the sake of adults, couldn't the folks behind the Alvin films have had the good grace to turn Alvin and the Chipmunks: The Squeakquel into a musical?
    • 53 Metascore
    • 42 Owen Gleiberman
    The movie isn't racist; it's just lame. If Brooks truly cared about Muslims or how their funny bones worked, Looking for Comedy might have had some zing, but all his character is interested in is the 500-page report he has to deliver - a homework assignment from hell.
    • 24 Metascore
    • 42 Owen Gleiberman
    Roland Joffé brings an artful video-grunge look, and not much else, to this "Saw" clone.
    • 62 Metascore
    • 42 Owen Gleiberman
    The film has barely started, and already we can tell what we're in for -- two hours of metaphysical drift.
    • 45 Metascore
    • 42 Owen Gleiberman
    Technically, Madonna's singing is beautiful -- elegant, silky, refined. Yet there's no fire, no twinkle of ambitious joy, to her performance. Her face is fixed, almost tranquilized -- a porcelain mask.
    • 35 Metascore
    • 42 Owen Gleiberman
    So much flatter than it was on the comic-book page.
    • 57 Metascore
    • 42 Owen Gleiberman
    Garry Marshall takes over the movie (no mystery: his son, Scott, directed it), and Keeping Up With the Steins turns into a recipe to forget: chopped liver with ''heart.''
    • 40 Metascore
    • 42 Owen Gleiberman
    The movie never finds a way to blend the emotional and the rat-a-tat-tat into one seamless package the way that Besson did in his one and only good movie, The Professional (1994).
    • 57 Metascore
    • 42 Owen Gleiberman
    Don Coscarelli, writer-director of the logy, fatuous Bubba Ho-Tep, is trying to will a cult movie into existence -- which, of course, never works.
    • 71 Metascore
    • 42 Owen Gleiberman
    In Land of the Dead there are virtually no good parts. The movie is listless and uninspired.
    • 30 Metascore
    • 42 Owen Gleiberman
    Supplies stretches of actual skating footage by pros doubling for the stars. It's in these moments, freed from the earthbound pull of its market-tested components, that the movie briefly relaxes into the sheer thrilling audacity of flying into the air propelled by a board on wheels.
    • 60 Metascore
    • 42 Owen Gleiberman
    The two characters barely even have a relationship; they're a union of demographics--the "urban" market meets the slapstick-action market.
    • 50 Metascore
    • 42 Owen Gleiberman
    When Kidman slithers into a bathtub with her young ''husband,'' the scene, in its soft-pedaled way, is the definition of exploitation: It appears to have been cooked up for no other purpose than to conjure creepy child-porn overtones.
    • 73 Metascore
    • 42 Owen Gleiberman
    In A Scanner Darkly, we're watching other people freak out, but the film is maddening to sit through because their freak-outs never become ours.
    • 44 Metascore
    • 42 Owen Gleiberman
    The Ruins is lumpish, static, and obvious. It's a gringos-go-home cautionary fright flick done in the spirit of a cheap '50s horror movie, except that it leaves you longing for the competence of grade-Z studio-system trash.
    • 35 Metascore
    • 42 Owen Gleiberman
    Ma Mère, while less prudish than Catherine Breillat's dour deconstructions of sex, is also less competent. It winds up making incest look absurdly swank.
    • 75 Metascore
    • 42 Owen Gleiberman
    It sounds churlish to argue that a movie can have too much integrity for its own good, but that's exactly the problem with La Ciénaga.
    • 27 Metascore
    • 42 Owen Gleiberman
    As a satire of new-style collegiate types, this MTV production actually evinces a few germs of rancid wit.
    • 37 Metascore
    • 42 Owen Gleiberman
    The lesson is that fun can't be planned, but the film is so airless (think iCarly as a videogame) that there isn't a truly playful moment in it.
    • 53 Metascore
    • 42 Owen Gleiberman
    The battles are grainy and ''existential,'' but what they aren't is thrilling. They're surging crowd scenes with streams of arrows and flecks of blood, and Crowe, slashing his way through them, is a glorified extra. He's so grimly possessed with purpose that he's a bore, and so is the movie.
    • 61 Metascore
    • 42 Owen Gleiberman
    A stunt masquerading as a statement.
    • 51 Metascore
    • 42 Owen Gleiberman
    With Poetic Justice, John Singleton has (at least temporarily) lost his way, but he may have found an actor [Shakur] who can help lead him back.
    • 26 Metascore
    • 42 Owen Gleiberman
    One of those desultory F/X and no script potboilers that seems to restart itself with every new scene.
    • 68 Metascore
    • 42 Owen Gleiberman
    Further sad evidence that Tom Tykwer, director of the resonant and sense-spinning ''Run Lola Run,'' has turned out to be a one-trick pony -- a maker of softheaded metaphysical claptrap. It's enough to make you want to see him run again.
    • 63 Metascore
    • 42 Owen Gleiberman
    The trouble with the movie is that there's nothing to Muriel but her false dreams: We never quite glimpse the woman they're hiding.
    • 48 Metascore
    • 42 Owen Gleiberman
    The movie itself is convoluted and almost unbelievably lackluster.
    • 52 Metascore
    • 42 Owen Gleiberman
    Altogether too faithful to its source. The makers of this ponderously middlebrow Canadian production have re-created the Gospel of John in its pristine entirety -- word for word, miracle for miracle.
    • 30 Metascore
    • 42 Owen Gleiberman
    The new movie is a dusty piñata stuffed with omens and not much more.
    • 48 Metascore
    • 42 Owen Gleiberman
    Red Hook Summer has some fantastic gospel numbers, but as drama it's a casserole that never comes together.
    • 15 Metascore
    • 42 Owen Gleiberman
    A flat, heebie jeebies thriller.
    • 33 Metascore
    • 42 Owen Gleiberman
    Hilary Duff makes me long for the comparatively Dostoyevskian depths of Sandra Dee.
    • 40 Metascore
    • 42 Owen Gleiberman
    The original Day the Earth Stood Still had a paranoid poetry that lifted the audience up even as it warned the world to come together. This one is so dour it just comes off as a scolding.
    • 64 Metascore
    • 42 Owen Gleiberman
    A turgid muddle of romance, espionage, and geek valor, despite intimations that it might have turned into ''A Reasonably Dapper-Looking Mind.''
    • 37 Metascore
    • 42 Owen Gleiberman
    Miracle isn't powerful, it's muddled and diffuse.
    • 48 Metascore
    • 42 Owen Gleiberman
    Ready to Wear is messy and vaguely nasty -- a blur with attitude.
    • 56 Metascore
    • 42 Owen Gleiberman
    An embarrassment--a fairy-tale showbiz satire that seems to defang itself, scene by scene.
    • 61 Metascore
    • 42 Owen Gleiberman
    French art thriller 13 Tzameti has a literal hair-trigger premise, yet it's so lacking in human dimensions that it creates virtually no suspense.
    • 59 Metascore
    • 42 Owen Gleiberman
    This remains the one and only fusion of ''Deliverance'' and ''Hansel and Gretel'' that I ever hope to see.
    • 49 Metascore
    • 42 Owen Gleiberman
    But overall, this lazy, sweet trifle seems to express the banality of well-being.
    • 60 Metascore
    • 42 Owen Gleiberman
    If any character steals Bill & Ted's Bogus Journey, it's the Grim Reaper, who, as played by William Sadler, keeps smirking with pleasure at the chance to loosen up.
    • 43 Metascore
    • 42 Owen Gleiberman
    There's one moment that achieves the camp shiver of the original, when Damien's nanny hangs herself at his birthday party (''Damien, it's all for you!'').
    • 56 Metascore
    • 42 Owen Gleiberman
    Goofy, pompous, annoyingly boomer-myopic Fab Four musical.
    • 59 Metascore
    • 42 Owen Gleiberman
    Jordan lets slip virtually every rudiment of drama. He never deigns to develop his characters, he coats the movie in a wet blanket of whimsy, and he lets pop songs do his work for him more lavishly than Cameron Crowe did in "Elizabethtown."
    • 25 Metascore
    • 42 Owen Gleiberman
    It's hardly much of a thrill to see The One recycle, on a lower budget, the slo-mo bullet dodges from "The Matrix," along with unspectacular variations on several other of that film's time-bending demolition-ballet effects.
    • 39 Metascore
    • 42 Owen Gleiberman
    An exhausted epic, one that Stone has directed with an almost startling lack of personality or vision.
    • 36 Metascore
    • 42 Owen Gleiberman
    Raging ego aside, the penny-ante hucksterism of his I'm-going-on-dates-to-get-famous-making-a-movie-about-dates approach is too cloying and opportunistic to bear.
    • 54 Metascore
    • 42 Owen Gleiberman
    Seems populated yet uninhabited; the only real star is the gloom.
    • 25 Metascore
    • 42 Owen Gleiberman
    I'm happy to report, though, that even a dud like Spy Hard can't completely douse the stumbling Zen charm of Leslie Nielsen, whose genius is that he never quite sheds the illusion that he isn't in on the joke.
    • 69 Metascore
    • 42 Owen Gleiberman
    Too chicly depressive -- and, for the most part, too dull -- to bear.
    • 60 Metascore
    • 42 Owen Gleiberman
    Rigid, airless, and browbeatingly repetitive, Das Experiment is an overly didactic piece of thesis hectoring; it's like ''Lord of the Flies'' set in a Skinner box.
    • 36 Metascore
    • 42 Owen Gleiberman
    Her setups here are so witless and pedestrian that there's no imagination to the crude slapstick punchlines; we're just watching a bland jester pantomime sensory overload.
    • 36 Metascore
    • 42 Owen Gleiberman
    The more that secret comes out, the more incoherent (and ludicrous) the film gets.
    • 25 Metascore
    • 42 Owen Gleiberman
    The creepy-faced robot twin babies are funny (for a while); the rest of the film is not. It's like "Meet the Parents" with Dr. Phil as the officiant from hell.
    • 58 Metascore
    • 42 Owen Gleiberman
    The movie wants to be Hitchcockian, but it's the flat-footed Hitchcock of "Marnie" that Park evokes. His filmmaking here is hermetic and lugubrious, with each physical movement meaninglessly heightened and every line hanging in the air with (empty) significance.
    • 36 Metascore
    • 42 Owen Gleiberman
    Be wary of any movie in which the hero is monosyllabic and a stutterer at the same time.
    • 44 Metascore
    • 42 Owen Gleiberman
    The film's chief novelty turns out to be its drab ''literary'' approach to horror.
    • 57 Metascore
    • 42 Owen Gleiberman
    Scored to a disarmingly quaint array of fiddle-and-banjo tunes, The Newton Boys has so little in the way of blood or rancor that before long, you begin to notice that there's no real drama in it, either.
    • 36 Metascore
    • 42 Owen Gleiberman
    The problem with the movie isn't that it sells out Rocky and Bullwinkle -- it's that it can't keep up with them.
    • 70 Metascore
    • 42 Owen Gleiberman
    Traffics in the coyly blasphemous, aren't-we-dysfunctional family-disaster chic that has become the single most annoying trend in independent filmmaking.
    • 41 Metascore
    • 42 Owen Gleiberman
    I can't imagine what Dali or Buñuel would have made of such bourgeois sentimentality.
    • 27 Metascore
    • 42 Owen Gleiberman
    In this American remake of the spooky, more-atmospheric-than-coherent 2005 J-horror thriller, the ghosts blink and crackle into existence with an electromagnetic sputter, but really, they're not so different from the gauzy, see-through spirits of yesteryear.
    • 52 Metascore
    • 42 Owen Gleiberman
    The Monuments Men sounds like a what's-not-to-like? movie, but it turns out to be a bizarre failure.
    • 73 Metascore
    • 42 Owen Gleiberman
    Les Liaisons Dangereuses is such an elaborate and satisfying structure of deceit and salaciousness that every attempt I have seen to adapt it on film -- "Dangerous Liaisons," "Cruel Intentions," even the trashy 1959 Roger Vadim version -- has resulted in an entertainment of agreeable nasty elegance. Until now.
    • 33 Metascore
    • 42 Owen Gleiberman
    Extraordinarily faithful to the spirit of that creaky, derivative, fly-infested, don't-go-in-the-attic boofest.
    • 60 Metascore
    • 42 Owen Gleiberman
    Quite honestly, you could nap for an hour and not miss a thing, but when the crew finally makes it to the glowing piles of booty at Treasure Planet's core, the film unleashes some pleasing visual fireworks. That's where it should have started, not ended.
    • 43 Metascore
    • 42 Owen Gleiberman
    Just when you thought it was safe to go to the movies without sitting through another imitation of early Quentin Tarantino, along comes Suicide Kings.
    • 70 Metascore
    • 42 Owen Gleiberman
    Little more than a plodding celebration of global television trumping everything in its midst.
    • 69 Metascore
    • 42 Owen Gleiberman
    Director Gaspar Noé proved a shock poet in "Irreversible" (2003). In Enter the Void, he's a shockingly tedious show-off.
    • 16 Metascore
    • 42 Owen Gleiberman
    Presents undercover law enforcement less as a profession than as an accessory, an excuse to pout and glower chicly, to stand around in nightclubs acting like a sullen version of the Last American Rebel.
    • 28 Metascore
    • 42 Owen Gleiberman
    The dumbing down of low-IQ sentimentality.
    • 46 Metascore
    • 42 Owen Gleiberman
    This is a movie of fake conflict, fake heart, even fake doggy love.
    • 39 Metascore
    • 42 Owen Gleiberman
    A cumbersome dud, grows draggier with each new revelation.
    • 56 Metascore
    • 42 Owen Gleiberman
    The film is so committed to its view of Ezra as a pawn in the psychotic game of postcolonial Africa that he is never allowed, as a character, to become more than a pawn.
    • 45 Metascore
    • 42 Owen Gleiberman
    If any actor could reveal the squirmy soul of a war criminal, it's Caine, so it feels like a cheat when The Statement gives him nothing to portray but self-condemnation.
    • 35 Metascore
    • 42 Owen Gleiberman
    This suburban gothic is a logy, convoluted mess.
    • 52 Metascore
    • 42 Owen Gleiberman
    The faux espionage plot, with its winks at terrorism, is really just a convoluted plea for the relevance of precious indie artistes (i.e., Hal Hartley).
    • 36 Metascore
    • 42 Owen Gleiberman
    Keeps teasing you with intimations of the libidinous animal within.
    • 52 Metascore
    • 42 Owen Gleiberman
    The Nativity Story is a film of tame picture-book sincerity, but that's not the same thing as devotion. The movie is too tepid to feel, or see, the light.
    • 62 Metascore
    • 42 Owen Gleiberman
    The movie, a piece of luridly baroque metaphysical trash, is about a Vietnam veteran who keeps getting jolted by demonic visions.
    • 63 Metascore
    • 42 Owen Gleiberman
    Achieves the near-impossible: It turns the Marquis de Sade into a dullard.
    • 46 Metascore
    • 42 Owen Gleiberman
    For a light comedy, The Nanny Diaries turns out to have an off-putting theme. It glorifies the romance of slumming.
    • 51 Metascore
    • 42 Owen Gleiberman
    So riddled with cultural stereotypes, woe-is-me neurotic mopiness, and glib therapeutic compassion that by the end all it leaves you with is a waxy buildup of falseness.
    • 37 Metascore
    • 42 Owen Gleiberman
    It's not just that Tony Soprano is richer, darker, cooler, and scarier. The dude gets more laughs.
    • 43 Metascore
    • 42 Owen Gleiberman
    Cronenberg directs this doomed romance in the same flat, claustrophobic, night-of-the-zombies style he employed in ''Naked Lunch''; as a dramatist, he's still stuck in Interzone.
    • 20 Metascore
    • 42 Owen Gleiberman
    Populated by ersatz versions of stars who, in this case, are fairly vanilla to begin with.
    • 28 Metascore
    • 42 Owen Gleiberman
    A remake of the 1986 suspense ''classic,'' is as processed and hoot-worthy as the original.
    • 53 Metascore
    • 42 Owen Gleiberman
    The ultimate crime of this paranoid enemy-of-the-state pulp, directed with more style than brains by Antoine Fuqua (Training Day), is how dull it is.
    • 61 Metascore
    • 42 Owen Gleiberman
    It’s got some talented actors and a certain jagged inner-city atmosphere, yet this first feature directed by Mario Van Peebles (son of the veteran black director Melvin Van Peebles) is little more than a sketchy exploitation melodrama.
    • 45 Metascore
    • 42 Owen Gleiberman
    The award for the most annoying character to appear in a movie so far this year turns out to be a tie: It goes to both of the oh-so-swankly tormented romantic mischief makers of Love Me if You Dare.
    • 45 Metascore
    • 42 Owen Gleiberman
    Upside Down is a very fancy piece of junk.
    • 52 Metascore
    • 42 Owen Gleiberman
    A lurid hodgepodge of the ''subversive'' and the secondhand, the movie lacks the primal pop pleasures of Lynch's best work.
    • 65 Metascore
    • 42 Owen Gleiberman
    A movie overtly designed to win attention (and not to do much else).
    • 64 Metascore
    • 42 Owen Gleiberman
    Has the taint of exploitation.
    • 50 Metascore
    • 42 Owen Gleiberman
    The title translates, roughly, as ''This & That,'' a confectionary shrug that pretty well sums up the blasé inconsequentiality of it all.
    • 47 Metascore
    • 42 Owen Gleiberman
    Like Mike has the synthetically wrapped pseudo-charm of a perfunctory ''Flubber'' sequel.
    • 33 Metascore
    • 42 Owen Gleiberman
    Seems to have been given the comedy equivalent of blood thinner. It has the blazing satirical boldness to skewer the first Tobey Maguire Spider-Man -- and, amazingly, not much else.
    • 64 Metascore
    • 42 Owen Gleiberman
    Sokurov's new companion piece (to "Mother and Son"), has the tedium without the trance.
    • 48 Metascore
    • 42 Owen Gleiberman
    The things that once made Neil LaBute's movies seem like tossed grenades — the loutish protagonists, the sadism toward women — now come off as more dated than scandalous.
    • 45 Metascore
    • 42 Owen Gleiberman
    After too many ''Full Monty''s, it has come to look like nothing so much as a coy ritual of emasculation.
    • 66 Metascore
    • 42 Owen Gleiberman
    The best thing in the movie is Arterton's sultry, claw-baring turn, but mostly it's a rudderless riff on "Let the Right One In."
    • 36 Metascore
    • 42 Owen Gleiberman
    The image of this kitchen-magician dream robot comes at us in little jolts and spasms that have the zappy, self-contained rhythm of a fast-food tie-in commercial.
    • 37 Metascore
    • 42 Owen Gleiberman
    Adore has the distinction of featuring some of the most laughable dialogue in any movie this year.
    • 41 Metascore
    • 42 Owen Gleiberman
    It's like a series of cliches exploding in your face.
    • 52 Metascore
    • 42 Owen Gleiberman
    LUV
    The rapper and actor Common has become a highly skilled screen star, but this touchy-feely dud does him wrong.
    • 34 Metascore
    • 42 Owen Gleiberman
    Clyde is meant to be nuts, but too often it's Law Abiding Citizen that checks rationality at the door.
    • 66 Metascore
    • 42 Owen Gleiberman
    The British director Ken Loach can be a master of working-class realism, but not in this cranky, rudderless shambles.
    • 49 Metascore
    • 42 Owen Gleiberman
    Really, who needs a bad guy who's this guilty about being bad?
    • 30 Metascore
    • 42 Owen Gleiberman
    The dialogue is chintzy and rhythmless.
    • 35 Metascore
    • 42 Owen Gleiberman
    Stealth, a dregs-of-summer knockoff, is too ponderous and inept to serve a comparable function now, yet the film's lack of thrust may be related to an absence of conviction about its own war-is-a-videogame clichés.
    • 45 Metascore
    • 42 Owen Gleiberman
    A primer no one needed, Where in the World Is Osama bin Laden? should have been called "The Post-9/11 World for Dummies."
    • 36 Metascore
    • 42 Owen Gleiberman
    Hartley is trapped between sincerity and mock sincerity, and that all but dooms a filmmaker to slipping through the cracks.
    • 26 Metascore
    • 42 Owen Gleiberman
    Soft-core trash with a tent-show hook.
    • 44 Metascore
    • 42 Owen Gleiberman
    Feels like an attempt to rebottle the postmodern fizz of Wes Anderson's "Bottle Rocket." I wish instead they'd put a stopper in it.
    • 52 Metascore
    • 42 Owen Gleiberman
    In the history of rock-star indulgence on film, I would rank it somewhere between Bob Dylan's epic carnival of pretension ''Renaldo & Clara'' and the overblown messianic doldrums of 1982's ''Pink Floyd The Wall.''
    • 28 Metascore
    • 42 Owen Gleiberman
    Gory but dramatically inert vampire schlocker.
    • 36 Metascore
    • 42 Owen Gleiberman
    The film suggests Titanic in a giant wading pool.
    • 68 Metascore
    • 42 Owen Gleiberman
    Overheated yet bizarrely opaque criminal character study from Belgium.
    • 53 Metascore
    • 42 Owen Gleiberman
    The only brazen thing about the film is how shamelessly it rips off "School of Rock."
    • 51 Metascore
    • 42 Owen Gleiberman
    An Australian crime caper that's one part ''Sexy Beast,'' one part ''The Full Monty,'' and three parts very flat soda.
    • 55 Metascore
    • 42 Owen Gleiberman
    It's a tale that reduces angst, not to mention love, to a generational tic.
    • 54 Metascore
    • 42 Owen Gleiberman
    A sentimental epic that forgets to include the sentiment
    • 47 Metascore
    • 42 Owen Gleiberman
    It's no coincidence that The Box plays like the world's murkiest Twilight Zone episode. It's loosely based on ''Button, Button,'' a short story by Richard Matheson, who wrote some of the series' greatest scripts.
    • 33 Metascore
    • 42 Owen Gleiberman
    Aspires to blasphemy but achieves only banality.
    • 31 Metascore
    • 42 Owen Gleiberman
    Without that heightened racial antipathy-turned-camaraderie, there's not a whole lot to Cop Out besides watching Kevin Smith pretend, with a crudeness that is simply boring, that he's an action director making a comic thriller about cops versus a Mexican drug gang (yawn).
    • 36 Metascore
    • 40 Owen Gleiberman
    In Assassin’s Creed, Michael Fassbender is like the ultimate special effect. Just by showing up, he confers respectability on two hours of semi-coherent overly art-directed video-game sludge.
    • 50 Metascore
    • 40 Owen Gleiberman
    The film keeps acting like it has something big to tell us; it plods and broods with self-importance. Yet in almost every crucial way, The Yellow Birds is a flat and listless piece of moviemaking, a monotonous indie dirge.
    • 72 Metascore
    • 40 Owen Gleiberman
    My Entire High School Sinking Into the Sea feels like a first draft, the one that needed to be written before the second draft added flesh and blood.
    • 50 Metascore
    • 40 Owen Gleiberman
    If a diagram were the same thing as a script, then Therapy for a Vampire might be a smashingly silly lark. But as written and directed by Daniel Ruehl, the film is a blueprint of mild anemic kitsch.
    • 23 Metascore
    • 40 Owen Gleiberman
    There’s a story, and a mythology, and a prestige actress who knows how to push moodiness to the point that, in this series, it’s just about her only mood, but none of it, in the end, gets in the way of the splatter.
    • tbd Metascore
    • 40 Owen Gleiberman
    There’s hardly a moment in Dangal that doesn’t go according to the numbers, but after 160 minutes’ worth of formula, the movie certainly hits a note of touching tribute to the way girl power is sweeping the world.
    • 42 Metascore
    • 40 Owen Gleiberman
    The Duel promises a battle of wits and wills, then turns into a violent grab-bag. But it does make you want to see Woody Harrelson get another movie worthy of his leering bald Nietzschean bravura.
    • 40 Metascore
    • 40 Owen Gleiberman
    The Fabios appear to have some talent, but not a lot of common sense. They’ve made a land-mine suspense thriller with a few heart-in-the-throat, hair-trigger moments, but Mine is so eager to be a “metaphor” (it’s a little Beckett, a little Tarantino, a little Lifetime channel) that it’s the film’s pretension that winds up exploding in your face.
    • 38 Metascore
    • 40 Owen Gleiberman
    Minus a hero who has the macho charisma to wrap a movie around him like he owned it, the new Ben-Hur is an oddly lackluster affair: sludgy and plodding, photographed (by Oliver Wood) in nondescript medium close-up, an epic that feels like a mini-series served up in bits and pieces.
    • 65 Metascore
    • 40 Owen Gleiberman
    The technical bravura that Guiraudie summoned in “Stranger” — the subtle manipulation of light, weather, shot language, and temporal cunning — now falls by the wayside in a story that lurches from episode to disconnected episode.
    • 30 Metascore
    • 40 Owen Gleiberman
    It’s another of Perry’s raucous and slovenly comedies of responsibility, which means that its heart is in a very old — and right — place. If only a message that was this solid equalled solid laughs.
    • 34 Metascore
    • 40 Owen Gleiberman
    Sleepless is a propulsive thin exercise, “energetic” but tedious, the kind of January movie that Jamie Foxx should have permanently graduated from. Foxx is too good an actor — taut and committed — to phone in his performance, yet that hardly matters, since the whole movie is phoned in. It’s far from incompetent, but it’s a who-cares? thriller.
    • 41 Metascore
    • 33 Owen Gleiberman
    The movie is a true folly, yet there's no denying that Gilliam has gotten some of the hallucinogenic madness of Thompson's novel on screen.
    • 51 Metascore
    • 33 Owen Gleiberman
    The movie wants to be deadly cool, but mostly it's just deadly.
    • 18 Metascore
    • 33 Owen Gleiberman
    If you've always longed to see a Cold War satire done in the hit 'em over the head frantic camp mode of ''Love, American Style,'' then Company Man is the movie for you.
    • 61 Metascore
    • 33 Owen Gleiberman
    I love a good mind-bender, but it's getting more common these days to see thrillers that don't so much bend your mind as chop it, smash it, and place it in the Cuisinart. Trance, the new film directed by Danny Boyle is a high-brainiac art-world thriller that wants to do nothing more (or less) than give your head a majorly pleasurable spin.
    • 32 Metascore
    • 33 Owen Gleiberman
    It's hard to say what's more excruciating: Alex's novel, which is like ''The Great Gatsby'' rewritten by Lizzie McGuire, or his quarrelsome flirtation with Emma, who has no existence as a character apart from her drive to reshape Alex into a specimen of respectable tamed manhood.
    • 35 Metascore
    • 33 Owen Gleiberman
    The premise is out of '70s porn, and so is the overbroad satire and almost total lack of conviction.
    • 30 Metascore
    • 33 Owen Gleiberman
    A yawn-by-numbers romper-room dud.
    • 21 Metascore
    • 33 Owen Gleiberman
    Few comedies have worked this hard to make everyone on screen look this dumb.
    • 23 Metascore
    • 33 Owen Gleiberman
    It just makes you want to flip on the tube to see the real (fake) thing.
    • 52 Metascore
    • 33 Owen Gleiberman
    You can see what the film was going for, but the jokes just sit there; you chuckle a few times, mostly out of lame hope, but you never bust a gut, never really get what you came for.
    • 27 Metascore
    • 33 Owen Gleiberman
    Bland to dismal.
    • 65 Metascore
    • 33 Owen Gleiberman
    A brutally monotonous thriller.
    • 27 Metascore
    • 33 Owen Gleiberman
    Asia Argento is not what I would call a good actress, but she's a prime specimen of train-wreck sexuality: a debauched Eurotrash starlet who oozes punk cred more than she does talent. It's not too hard to see why she wanted to write, direct, and star in The Heart Is Deceitful Above All Things.
    • 32 Metascore
    • 33 Owen Gleiberman
    It was originally called ''Animal Husbandry,'' and while the producers were throwing away that title, they might have done well to chuck the movie along with it.
    • 35 Metascore
    • 33 Owen Gleiberman
    Van Helsing, a fusion of eye candy and brain sputter, is a long, kinetic, yet dreary mess.
    • 7 Metascore
    • 33 Owen Gleiberman
    The Farrelly brothers could burp out a movie funnier than The Hottie & the Nottie, a farce of corrupt stereotypes that's never more grotesque than when it pretends to be more than skin-deep.
    • 36 Metascore
    • 33 Owen Gleiberman
    The results in Employee of the Month are toothless.
    • 12 Metascore
    • 33 Owen Gleiberman
    The Avengers is too enervated to qualify as even a full-scale disaster.
    • 55 Metascore
    • 33 Owen Gleiberman
    Back to the Future Part III has that same sort of studio back-lot clunkiness. Only this time it's the audience that gets conked — by the sheer desperation of the whole enterprise.
    • 33 Metascore
    • 33 Owen Gleiberman
    Most of The Man is as awful as last year's debacle, "Taxi," yet Levy, stuck in a no-brainer variation on Billy Crystal's predicament in "Analyze This," shows just enough noodgy passive-aggression to suggest what the movie might have been were it not shackled to buddy-action clichés.
    • 38 Metascore
    • 33 Owen Gleiberman
    The Medallion makes you long for Tucker -- and for Jackie Chan to fly without digital wings.
    • 45 Metascore
    • 33 Owen Gleiberman
    I Love You to Death is strenuously unclever.
    • 36 Metascore
    • 33 Owen Gleiberman
    No belief on earth can rescue Swank from a film that's a chain of disaster chintz masquerading as a sermon.
    • 52 Metascore
    • 33 Owen Gleiberman
    For all of De Palma's studious multimedia trickery -- a valid, even inspired idea -- Redacted is so naive it's an embarrassment.
    • 31 Metascore
    • 33 Owen Gleiberman
    Adam Sandler stars in a one-joke Caddyshack for the blitzed and jaded.
    • 33 Metascore
    • 33 Owen Gleiberman
    Lawrence is so ON that he appears to be gunning for clockwork bursts of audience approval.
    • 42 Metascore
    • 33 Owen Gleiberman
    Orphan isn't scary -- it's garish and plodding.
    • 46 Metascore
    • 33 Owen Gleiberman
    CJ7
    Trivial and charmless.
    • 38 Metascore
    • 33 Owen Gleiberman
    The fusion of cheekiness and deliberately overscaled fantasy never jells.
    • 18 Metascore
    • 33 Owen Gleiberman
    This rusty jalopy of a movie, which is so ramshackle it's nearly enough to make you forget how tossed-together the 1976 ''Car Wash'' was.
    • 47 Metascore
    • 33 Owen Gleiberman
    This one is just murk.
    • 55 Metascore
    • 33 Owen Gleiberman
    Antonio Banderas is a charming and talented man, but in Take the Lead he lays on the old-world panache so thick - the accent, the flowery courtliness, the romance of romance - that he comes off like Dracula's metrosexual cousin.
    • 19 Metascore
    • 33 Owen Gleiberman
    "Species" at least had the benefit of Henstridge's glazed porn-doll perversity, but this time any glimmers of sexual ominousness are buried in a lame, desultory chase plot and in the woefully underimagined special effects.
    • 62 Metascore
    • 33 Owen Gleiberman
    Since there is a mystery, the movie might have been entertaining camp had director Taylor Hackford staged it with pace, style, or a whisper of surprise. Instead, the plot just clunks forward-for two hours and 10 minutes.
    • 34 Metascore
    • 33 Owen Gleiberman
    Tame and witless enough to make me long for the ancient, dusty fright kitsch of ''The Munsters.''
    • 12 Metascore
    • 33 Owen Gleiberman
    The movie doesn't so much extend Schwartzman's antic outsider persona from ''Rushmore'' as uglify it, reducing him to the ultimate Uncool Anti-WASP.
    • 46 Metascore
    • 33 Owen Gleiberman
    The movie is MTV Kafka: Instead of dialogue, character, behavior, it has a look and a mood. And that's all it has.
    • 22 Metascore
    • 33 Owen Gleiberman
    In its hostile sitcom way, Christmas With the Kranks is a paranoid comic nightmare of conformity gone mad.
    • 36 Metascore
    • 33 Owen Gleiberman
    At least Ribisi's fake-cojones histrionics are fun. The rest of this "Donnie Brasco" knockoff, with James Marsden as a Gulf War veteran who goes undercover, is a turgid, ketchup-spattered dud.
    • 41 Metascore
    • 33 Owen Gleiberman
    If you want to know how inept the movie is...well, it's so inept that you may wish you were watching an M. Night Shyamalan version of the very same premise.
    • 40 Metascore
    • 33 Owen Gleiberman
    Stuart Townsend, Theron's reallife boyfriend, may have inner fires as an actor that have yet to be revealed, but in Head in the Clouds he's a somber puppy who looks as if Theron could eat him alive. I wish she had.
    • 38 Metascore
    • 33 Owen Gleiberman
    Tells a moldy-oldie, not-nearly-as-nasty-as-it-thinks-it-is joke. Over and over again.
    • 31 Metascore
    • 33 Owen Gleiberman
    A few of the images are startling, but as Radha Mitchell (a good actress) wanders through a ghost town, searching for her lost daughter as though she was touring an abandoned movie set, Silent Hill is mostly paralyzing in its vagueness.
    • 41 Metascore
    • 33 Owen Gleiberman
    Has all the mood enhancing flavor of a tropical cocktail made with watered down rum and fake fruit juice.
    • 33 Metascore
    • 33 Owen Gleiberman
    The movie has no script, and even the better gags - like one in which a couple of the pilots scribble away at coloring books in the backseat of a plane - could have been staged more vividly.
    • 45 Metascore
    • 33 Owen Gleiberman
    If Crowe's eyes are open, he seems to have directed most of Vanilla Sky with his mind wide shut.
    • 44 Metascore
    • 33 Owen Gleiberman
    Even the film's one "original" twist is just a desperate attempt to link it up to Ghost Rider, the only lousy Nicolas Cage action film that is actually spawning a sequel.
    • 55 Metascore
    • 33 Owen Gleiberman
    The film is proof that if you repackage the classics (in this case, Dickens) for the youth market in an era of MTV dislocation, what you get, in essence, is postmodern Cliffs Notes with an alt-rock soundtrack.
    • 29 Metascore
    • 33 Owen Gleiberman
    Even in her dullest vehicle, Lindsay Lohan exudes an unfakable shine.
    • 38 Metascore
    • 33 Owen Gleiberman
    The director, Nora Ephron, displays her peerless gift for making everything seem snappy and mushy at the same time, and Travolta's performance has a slovenly, I-can-do-anything-and-you'll-still-love-me obnoxiousness.
    • 24 Metascore
    • 33 Owen Gleiberman
    It takes the movie all of 15 minutes to descend into sub-Spielbergian banalities about poor Max's search for his absentee dad.
    • 16 Metascore
    • 33 Owen Gleiberman
    Though not quite the fiasco of revved-up gunplay that Beverly Hills Cop II was, this new movie, directed by John ''Rock-'em Sock-'em'' Landis, is just a clunky action thriller, with occasional comic moments rationed out to the audience like stray crumbs.
    • 57 Metascore
    • 33 Owen Gleiberman
    Most of this just seems, you know, so three years ago, so "Bourne" again.
    • 35 Metascore
    • 33 Owen Gleiberman
    Viewers primed for a postapocalyptic blowout will be disappointed to learn that Universal Soldier is set in the boring old present day, and that until the climactic clash the film is slow-moving and short on firepower.
    • 24 Metascore
    • 33 Owen Gleiberman
    Jean-Claude Van Damme's latest dud.
    • 36 Metascore
    • 33 Owen Gleiberman
    He now imparts so many life lessons via his Rube Goldberg thresher devices that he's starting to turn into the Rod Serling of severed body parts. Now that's torture.
    • 67 Metascore
    • 33 Owen Gleiberman
    I gave up making heads or tails of Synecdoche, New York, but I did get one message: The compulsion to stand outside of one's life and observe it to THIS degree isn't the mechanism of art -- it's the structure of psychosis.
    • 24 Metascore
    • 33 Owen Gleiberman
    Myers is trying for another of his endearingly hormonal imp-egomaniacs, but hidden behind a wavy beard, a wax-curled mustache, and an astoundingly ugly squashed fake nose, he's a little too grotesque.
    • 46 Metascore
    • 33 Owen Gleiberman
    How lame have high-concept, no-brain comedies gotten?
    • 30 Metascore
    • 33 Owen Gleiberman
    Bloodless and false.
    • 33 Metascore
    • 30 Owen Gleiberman
    When a film’s basic strategy is to cut between the past and the present, it should create ripples of anticipatory tension. But Despite the Falling Snow is one of those movies in which the cross-cutting keeps destroying all mood and momentum — it feels more like channel-surfing.
    • 40 Metascore
    • 30 Owen Gleiberman
    Almost everything that happens in this movie rings cloyingly false. It wants to make you laugh and cry, but you may be too busy cringing.
    • 41 Metascore
    • 30 Owen Gleiberman
    Planetarium is an inert and slipshod movie — messy and aimless, a period tale told with zero period atmosphere (you have to keep reminding yourself that it’s not taking place in 2016), built around a situation with enough possibilities to make you wish that the director, Rebecca Zlotowski, had taken advantage of at least one of them.
    • 28 Metascore
    • 30 Owen Gleiberman
    Shepard just sprinkles overstated banter onto a generic plot and bits of pedal-to-the-metal action, as if he was serving the action-comedy gods by sticking the usual ingredients in a blender and pushing “puree.”
    • 30 Metascore
    • 30 Owen Gleiberman
    "USS Indianapolis” is a World War II “epic” that’s overscaled yet underimagined. It’s a tale of survival that never provides the audience with a basic entry point into how and why we should care.
    • 16 Metascore
    • 30 Owen Gleiberman
    The Last Face would have been a better movie if it had an actual screenplay, rather than the bare-bones one credited to Erin Dignam.
    • 44 Metascore
    • 30 Owen Gleiberman
    The film enunciates its raw themes — punk means individuality! the aliens are all about conformity! — but never begins to figure out how to embody those themes in a narrative that could lure in the audience.
    • 33 Metascore
    • 25 Owen Gleiberman
    It's an utterly fake nostalgia piece -- stupid and pandering, a bad-boy teen flick that plays less like a loving look at the late '70s than a terrible movie from the late '70s.
    • 52 Metascore
    • 25 Owen Gleiberman
    The only performer I enjoyed watching was Martin Short, who plays a bitch dandy music teacher with a smile so fake that the comedian seems to be acting with his gums.
    • 38 Metascore
    • 25 Owen Gleiberman
    If you've been longing to see the worst family entertainment of 1966, A Dog of Flanders may be the movie for you.
    • 41 Metascore
    • 25 Owen Gleiberman
    Hop
    It's "Alvin and the Chipmunks" with only one chipmunk, and (if possible) even less fun.
    • 61 Metascore
    • 25 Owen Gleiberman
    Whenever an actress takes on a gritty working-class role, the audience does a gut check of authenticity. Either the actress gets it, like Melissa Leo did in "Frozen River," or she doesn't, like Michelle Monaghan as the spoilin'-for-a-fight truck-driver heroine of the inert indie dud Trucker
    • 25 Metascore
    • 25 Owen Gleiberman
    The audience gets the message (religious fanaticism: bad), but nothing we see is convincing on its own.
    • 58 Metascore
    • 25 Owen Gleiberman
    The movie lacks even the misplaced fervor of obsession. It's lifeless kitsch.
    • 35 Metascore
    • 25 Owen Gleiberman
    A sodden ''feminist'' vulgarization.
    • 22 Metascore
    • 25 Owen Gleiberman
    It will have you groaning between yawns.
    • 42 Metascore
    • 25 Owen Gleiberman
    It barely boasts enough funny material to fill four minutes.
    • 72 Metascore
    • 25 Owen Gleiberman
    Antal has assembled what may be the single most colorless group of mangy lowlifes I have ever seen.
    • 45 Metascore
    • 25 Owen Gleiberman
    Would like to be a Halloween treat, but it's more like a nightmare of blandness.
    • 38 Metascore
    • 25 Owen Gleiberman
    The Rite commits the supreme sin of making the devil dull.
    • 43 Metascore
    • 25 Owen Gleiberman
    The title, Machine Gun Preacher, makes it sound like a piece of grindhouse kitsch - and by the time it's over, you'll be thinking, ''If only!''
    • 35 Metascore
    • 25 Owen Gleiberman
    If you were looking for an actress to play a tempestuous, schizophrenic movie-slash-rock star, you might go for Courtney Love or Angelina Jolie, or maybe even Jennifer Connelly. But Rachael Leigh Cook?
    • 50 Metascore
    • 25 Owen Gleiberman
    Isn't it time Steve Zahn grew up? Ever since the '90s, this walking quirk of an actor has pushed his dazed solipsistic zaniness (he's like Michael J. Fox’s hillbilly cousin), but he's 41 now, and it no longer looks cute on him.
    • 34 Metascore
    • 25 Owen Gleiberman
    Instead of rooting for Pullman and Fonda, we end up praying that the crocodile is hungry enough to put them out of their misery.
    • 36 Metascore
    • 25 Owen Gleiberman
    The movie is trash shot to look like art imitating trash.
    • 28 Metascore
    • 25 Owen Gleiberman
    Randall Miller (Bottle Shock), appears to be trying to cross a bad Elmore Leonard thriller with a bad indie-festival family-angst comedy. He gives us the worst of both worlds.
    • 46 Metascore
    • 25 Owen Gleiberman
    It's a dismal mess...What's most grating about Hackers, however, is the guileless way the movie buys in to the computer-kid-as-elite-rebel mystique currently being peddled by magazines like Wired.
    • 46 Metascore
    • 25 Owen Gleiberman
    The film completely misses what should have been its real target -- the filming of Game of Death, a martial-arts campfest worthy of Edward D. Wood Jr.
    • 49 Metascore
    • 25 Owen Gleiberman
    It's like "Schindler's List" crossed with "The Sound of Music," and Roger Spottiswoode directs it in a stiff, lifeless, utterly dated style of international squareness.
    • 53 Metascore
    • 25 Owen Gleiberman
    You can expect a lot of shredding and gurgling. 30 Days of Night is relentless, but it's also relentlessly one-note.
    • 27 Metascore
    • 25 Owen Gleiberman
    Vampire in Brooklyn is a horror comedy that mixes lame blood-pellet effects with lame gags, and it clunks along on a series of interchangeably deserted streets that manage to look dank and overlit at the same time.
    • 37 Metascore
    • 25 Owen Gleiberman
    The United States of Leland is tedious yet infuriating, since its characters, all of whom seem to have emerged from a screenwriter's manual, are like exhibits in a thesis meant to indict the middle class for the crime of its collective dysfunction.
    • 53 Metascore
    • 25 Owen Gleiberman
    Has a topsy-turvy sense of injustice.
    • 50 Metascore
    • 25 Owen Gleiberman
    The most irritating thing about Hoffa is that even after you've sat through Danny DeVito's turgid, meaninglessly sprawling account of the Teamster boss' rise and fall, you still won't have any idea who Jimmy Hoffa was.
    • 29 Metascore
    • 25 Owen Gleiberman
    Kate Hudson is as blah and dazed as her costar is cloyingly enthused. If it's possible to have too even a tan, Hudson in Fool's Gold would be the poster child for it.
    • 25 Metascore
    • 25 Owen Gleiberman
    If any of these characters were half as resonant as Wenders appears to think they are, the film might have seemed charming instead of merely stranded.
    • 36 Metascore
    • 25 Owen Gleiberman
    The morality of revenge is barely at issue in a movie that pushes the plausibility of revenge right over a cliff.
    • 30 Metascore
    • 25 Owen Gleiberman
    The thinnest, draggiest, and most tediously preachy of the Saw films.
    • 41 Metascore
    • 25 Owen Gleiberman
    While George Lopez, Cheech Marin, and Paul Rodriguez are funny men, it's amazing how boring these Latin-shtick cutups can be when none of them gets a single good line.
    • 29 Metascore
    • 25 Owen Gleiberman
    The result is a sub-"Saw" knockoff that manages to be brutal yet monotonous, not to mention monstrously unpleasant.
    • 30 Metascore
    • 25 Owen Gleiberman
    Simply put, it may be the lamest movie ever made about poor white... Southern characters.
    • 7 Metascore
    • 25 Owen Gleiberman
    Writer-director-stars Zach Cregger and Trevor Moore, of the Whitest Kids U'Know, here prove the crassest, most maladroit moviemakers you know.
    • 36 Metascore
    • 25 Owen Gleiberman
    Kollek is a fringe auteur who makes independent films the old fashioned way: no budget, static camera, a script that telegraphs its tiny, paste gem ironies.
    • 51 Metascore
    • 25 Owen Gleiberman
    Nothing in John Carter really works, since everything in the movie has been done so many times before, and so much better.
    • 33 Metascore
    • 25 Owen Gleiberman
    In Trash Humpers, the latest slovenly, haphazard, is-it-a-travesty-if-it's-bad-on-purpose avant doodle from director Harmony Korine, three figures in rubbery old-age makeup do indeed mimic intercourse with Dumpsters.
    • 30 Metascore
    • 25 Owen Gleiberman
    Feeling Minnesota suggests Sam Shepard trying to be Quentin Tarantino. It makes even gun battles seem pretentious.
    • 62 Metascore
    • 25 Owen Gleiberman
    The wedding, which turns the very concept of ''Greek'' into the sort of hideous, pandering clichés that look rejected from bad Jewish and Italian sitcoms.
    • 47 Metascore
    • 25 Owen Gleiberman
    A convoluted ''dweeb meets the Mob'' farce in which everyone is trying to kill everyone else, but it's the movie that's the real corpse -- albeit a busy, twitching one.
    • 36 Metascore
    • 25 Owen Gleiberman
    It's not much fun to see these two reduced to "Mad TV" parodies of themselves.
    • 29 Metascore
    • 25 Owen Gleiberman
    As Brier's comrade-in-lip-gloss, Ashlee Simpson, dressed to look like a teenybop girl version of Crispin Glover in "River's Edge," is the real deal -- in fake cred.
    • 38 Metascore
    • 25 Owen Gleiberman
    A stillborn rendering of Michael Chabon's first novel.
    • 29 Metascore
    • 25 Owen Gleiberman
    This dank and rhythmless ''psychological'' potboiler was directed by Jamie Babbit, who made 2000's "But I'm a Cheerleader," and though she has shifted tones from shrill camp to moody angst in The Quiet, she still thinks in stereotypes so thin that they put you to sleep the moment they open their mouths.