Owen Gleiberman

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For 2,885 reviews, this critic has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 2.1 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Lords of Dogtown
Lowest review score: 0 Assisted Living
Score distribution:
2885 movie reviews
    • 34 Metascore
    • 70 Owen Gleiberman
    Robin Hood is no classic, but if it sometimes seems like it’s trying to be “Baz Luhrmann’s Robin Hood,” more power to it. The movie is a diverting live-wire lark — one that, for my money, gets closer to the spirit of what Robin Hood is about than the logy 1991 Kevin Costner version or the dismal 2010 Russell Crowe version.
    • 66 Metascore
    • 80 Owen Gleiberman
    Creed II has been made with heart and skill, and Jordan invests each moment with such fierce conviction that he makes it all seem like it matters.
    • 57 Metascore
    • 70 Owen Gleiberman
    It redefines family craziness as normal in a way that those who seek it out will gratefully relate to.
    • 92 Metascore
    • 100 Owen Gleiberman
    The effect is ecstatic; she sounds like the holiest of trumpets, with every note piercingly bright yet as soft as velvet. Listening to Franklin, you feel like you could ride that voice into the heavens. She’s not just a singer, she’s a human chariot.
    • 66 Metascore
    • 70 Owen Gleiberman
    The drama of “Narcissister Organ Player” is that Narcissister isn’t layering her demons onto the culture; she’s layering the culture onto herself. That’s why that mask of hers looks more and more like one we’re all capable of hiding behind.
    • 51 Metascore
    • 70 Owen Gleiberman
    For anyone who grew up with “How the Grinch Stole Christmas,” The Grinch won’t replace it, yet it’s nimble and affectionate in a way that can hook today’s children, and more than a few adults, by conjuring a feeling that comes close enough.
    • 39 Metascore
    • 40 Owen Gleiberman
    In Nobody’s Fool, Tiffany Haddish is just furious and funny enough to make you wish that the rest of the movie wasn’t a droopy romantic comedy without the comedy.
    • 63 Metascore
    • 60 Owen Gleiberman
    Were the Dallas Cowboys Cheerleaders, in some rollicking sex-positive way, an intrinsic part of the feminist revolution? Or did they represent one step forward and one high kick back? You could make the case either way, but the film pushes the clean and forceful — if highly ironic — argument that the Cheerleaders were nothing more or less than empowered entertainers who seized control of their sexuality and, in doing so, advanced the liberation of women.
    • tbd Metascore
    • 80 Owen Gleiberman
    The Panama Papers captures and celebrates a different concentration of power: that of the journalists who’ve begun to band together by thinking globally, following the money as it travels — and does its best to hide — around the world.
    • 70 Metascore
    • 80 Owen Gleiberman
    It’s an investigation in the form of a highly personalized meditation.
    • 43 Metascore
    • 30 Owen Gleiberman
    Hunter Killer has good enough actors, but it never figures out what to do with them. They’re stuck in an underwater vacuum, a submarine movie that submerges anything of interest.
    • 49 Metascore
    • 50 Owen Gleiberman
    The movie, despite its electrifying subject, is a conventional, middle-of-the-road, cut-and-dried, play-it-safe, rather fuddy-duddy old-school biopic, a movie that skitters through events instead of sinking into them.
    • 61 Metascore
    • 60 Owen Gleiberman
    Okoro has bent over backwards not to make the poverty-row version of a glib crime thriller, but he shouldn’t have bent so far.
    • 53 Metascore
    • 50 Owen Gleiberman
    The way a movie like “Goosebumps 2” works, even a weary adult will be grateful, by the time it finally kicks in, for all the brainless whirling distraction. I almost wrote fun, but that would be pushing it. To achieve that F-word, the film would have to ground its amusing effects in a story that was less skittery yet leaden.
    • 74 Metascore
    • 90 Owen Gleiberman
    The Price of Everything exalts in the spirt of art over commerce, yet what’s thrilling about the film — and what echoes in your mind after it’s over — is that it captures all the ways those two forces can’t be separated.
    • 70 Metascore
    • 90 Owen Gleiberman
    The film shows you the club from every angle, and seems to be gawking at every patron. It puts us right inside.
    • 35 Metascore
    • 40 Owen Gleiberman
    Venom is a textbook case of a comic-book film that’s unexciting in its ho-hum competence, and even its visual-effects bravura.
    • 39 Metascore
    • 40 Owen Gleiberman
    There are a minor handful of scenes in Johnny English Strikes Again that will make you laugh. A bit.
    • 43 Metascore
    • 50 Owen Gleiberman
    Night School has a handful of laughs, but it’s a bloated trifle that, at 111 minutes, overstays its welcome.
    • 76 Metascore
    • 80 Owen Gleiberman
    The pull of Garry Winogrand’s photographs is that they dissolve the line between art and life.
    • 52 Metascore
    • 50 Owen Gleiberman
    Teen Spirit is too tidy, concocted, and safe. It longs to channel the high of great pop, but as a movie it lacks the ecstatic imagination to do what great pop does. It never soars.
    • 81 Metascore
    • 100 Owen Gleiberman
    It’s a riveting and spectacular documentary.
    • 71 Metascore
    • 50 Owen Gleiberman
    No matter how much you want to like the film, something is missing: a spark, a shimmer, a thrust of discovery.
    • 66 Metascore
    • 90 Owen Gleiberman
    Mid90s, though made by a Hollywood star, isn’t a nostalgic indie “fable” in gritty skate-punk drag. It’s something smaller and purer: a slice of street life made up of skittery moments that achieve a bone-deep reality.
    • 84 Metascore
    • 70 Owen Gleiberman
    Widows, while a highly original and entertaining variation on the heist film, isn’t a home run.
    • 69 Metascore
    • 70 Owen Gleiberman
    The movie, in its way, summons something ominous and powerful. It’s not a screed — it’s a warning. It says, quite wisely: Take action now, or you may no longer have the opportunity to do so.
    • 63 Metascore
    • 80 Owen Gleiberman
    Beautiful Boy, made by the Belgian director Felix Van Groeningen (“The Broken Circle Breakdown”), from a script by Luke Davies, is scrupulous and tenderly wounding — a drama that seizes and holds you.
    • 68 Metascore
    • 40 Owen Gleiberman
    What you see in American Dharma isn’t investigative filmmaking — it’s a toothless bromance.
    • 86 Metascore
    • 80 Owen Gleiberman
    Wang Bing’s Dead Souls is a powerfully sobering and clear-eyed investigation that justifies its length through the gravity and presence of its testimony.
    • 72 Metascore
    • 70 Owen Gleiberman
    Hal
    Hal has a once-over-lightly quality, but at times it offers a telling window into how the New Hollywood worked.

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