Owen Gleiberman

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For 3,117 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 1.5 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 IMAX: Hubble 3D
Lowest review score: 0 Hudson Hawk
Score distribution:
3117 movie reviews
    • 63 Metascore
    • 70 Owen Gleiberman
    An earnest, scrappy, and finally touching drama about a young man from Memphis who’s got a dream — he’s a wine buff who wants to become a sommelier — but if he follows it, it will tear him away from everything his father yearned for him to be. That, of course, is part of why it’s a tasty dream.
    • 66 Metascore
    • 60 Owen Gleiberman
    The director, Benjamin Kasulke, is a veteran cinematographer who brings the L.A. settings a spangly glow, but he stages too many scenes with generic “punch.” I wish he’d played against the comedy instead of italicizing it, and that he’d come up with some pop-music epiphanies and ditched the film’s cloying synthesizer score.
    • 64 Metascore
    • 40 Owen Gleiberman
    Vivarium has a canny visual design (you won’t soon forget the rows of Monopoly houses), but the movie becomes an example of the imitative fallacy. It makes the audience feel deadened too.
    • 48 Metascore
    • 70 Owen Gleiberman
    “Bombshell” aside, Tape is one of the very first dramas of the #MeToo era to confront, head-on, what harassment looks like and how it really works. Yet even as the film feels up-to-the-minute, it’s been made with a certain threadbare, streets-of-New-York punk feminist mythologizing that may remind you, at times, of the films of Beth B.
    • 47 Metascore
    • 40 Owen Gleiberman
    This is a subject that deserves a rigorous documentary exploration, like Alison Klayman’s must-see psychotropic exposé “Take Your Pills.” But Dosed isn’t that kind of movie.
    • 44 Metascore
    • 70 Owen Gleiberman
    Bloodshot is a trash compactor of a comic-book film, but it’s smart trash, an action matrix that’s fun to plug into.
    • 74 Metascore
    • 70 Owen Gleiberman
    The Booksellers is a documentary for anyone who can still look at a book and see a dream, a magic teleportation device, an object that contains the world.
    • 59 Metascore
    • 50 Owen Gleiberman
    You may wish that you were reading about these events in The New Yorker, because the movie is so choked with neutral detail that it’s a little bloodless. It lacks fire.
    • 68 Metascore
    • 50 Owen Gleiberman
    I’d love to see Affleck star in a film about an addict with nothing to explain his addiction but his own flawed, desperate, hungry soul. That’s a movie that could speak to us — the way that Ben Affleck’s real story already does — far more than this modestly well-made Sunday-school lesson.
    • 66 Metascore
    • 80 Owen Gleiberman
    A little of this can go a long way (the film is sometimes a bit airless), but James Sweeney is a filmmaker with the rare ability to toss antically inspired dialogue right off the edge of his brain. Straight Up is the work of a startling talent.
    • 71 Metascore
    • 80 Owen Gleiberman
    This gratifyingly clever and, at times, powerfully staged thriller is too rooted in our era to be called old-fashioned — its release, in fact, feels almost karmically synched to the week of the Harvey Weinstein verdict. Yet there’s one way that the movie is old-fashioned: It does an admirable job of taking us back to a time when a horror film could actually mean something.
    • 61 Metascore
    • 70 Owen Gleiberman
    By the end of Onward, you’ll have chuckled and maybe choked up, and enjoyed a conventional ride.
    • 47 Metascore
    • 60 Owen Gleiberman
    For all the wholesome cheesiness of much of the film, you’d have to have a pretty hard heart not to be touched by it.
    • 62 Metascore
    • 70 Owen Gleiberman
    It’s a looser, warmer, and more meditative romance, one that takes its time by giving its actors room to breathe.
    • 47 Metascore
    • 40 Owen Gleiberman
    We all know that your average Hollywood comedy tends to include some on-set improvisation, but in this case the contrast between the leaden pseudo-brashness of the rest of the movie and the ping! of Carrey’s dialogue is so marked that it almost feels like he made up his entire character on the spot. (I’m not declaring that he actually did. I’m just sayin’.)
    • 41 Metascore
    • 50 Owen Gleiberman
    Created Equal is structured as a monologue of self-justification, a two-hour infomercial for the decency, the competence, and the conservative role-model aspirationalism of Clarence Thomas.
    • 60 Metascore
    • 60 Owen Gleiberman
    Directing her first studio feature, Cathy Yan keeps it all hurtling along with impeccable ferocity. Her action scenes have a deftly detonating visual spaciousness, capped by crowd-pleasing moments.
    • 69 Metascore
    • 70 Owen Gleiberman
    The film is acted with great flair and emotional precision, and it’s been staged by Taymor with vividly detailed historical flavor, yet it tells Steinem’s story in a way that’s more wide than deep.
    • 87 Metascore
    • 90 Owen Gleiberman
    The Father is a chamber piece, but it has the artistic verve to keep twisting the reality it shows us without becoming a stunt.
    • 76 Metascore
    • 80 Owen Gleiberman
    Assassins is a terrific true-crime story, but it’s also a documentary thriller about the new world disorder.
    • 69 Metascore
    • 80 Owen Gleiberman
    In Lost Girls, Liz Garbus takes the serial-killer thriller and turns it on its head, insisting that we see the victims as larger than the crimes that destroyed them.
    • 49 Metascore
    • 70 Owen Gleiberman
    The story worked brilliantly before. In Downhill, it works…well enough. The new movie is a teasing trifle with something real on its mind.
    • 88 Metascore
    • 90 Owen Gleiberman
    On the Record presents a searing, at times shocking exposé of alleged criminal acts. Yet here, as in those earlier chronicles, what’s extraordinary is the disturbingly intimate communion the film creates between the audience and the survivors. Not just the facts but the meaning of these alleged crimes comes scarily alive in the emotional details of their telling.
    • 85 Metascore
    • 90 Owen Gleiberman
    The Dissident is riveting, but it’s also a moving testament to a man whose courage burned too brightly to die with him.
    • 65 Metascore
    • 70 Owen Gleiberman
    Watching the movie, you know you’re getting a controlled and sanded-off confection of pop-diva image management, one that’s going to leave anything too dark or messy or random on the cutting-room floor. Yet what matters is that the things we do see ring true. In “Miss Americana,” the vision Taylor Swift presents of herself is just chancy and sincere enough to draw us in.
    • 59 Metascore
    • 70 Owen Gleiberman
    Will Smith and Martin Lawrence bring their A game; they never let us feel as if they’re going through the motions. The marks may be standard issue, but they hit them with fury and flair.
    • 48 Metascore
    • 30 Owen Gleiberman
    Underwater is a stupefying entertainment in which every claustrophobic space and apocalyptic crash of water registers as a slick visual trigger, yet it’s all built on top of a dramatic void. It’s boredom in Sensurround.
    • 41 Metascore
    • 30 Owen Gleiberman
    The Grudge plods on as if it were something more than formula gunk, cutting back and forth among the thinly written unfortunates who’ve been touched by the curse of that house.
    • 53 Metascore
    • 80 Owen Gleiberman
    The Rise of Skywalker is, to me, the most elegant, emotionally rounded, and gratifying “Star Wars” adventure since the glory days of “Star Wars” and “The Empire Strikes Back.” (I mean that, but given the last eight films, the bar isn’t that high
    • 54 Metascore
    • 40 Owen Gleiberman
    The trouble with a film like Spies in Disguise isn’t that it’s less than sparklingly animated but that as technically bravura as it is, there is never anything at stake.

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