Owen Gleiberman

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For 2,854 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 2.3 points higher than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Century of the Self
Lowest review score: 0 Death of a Nation
Score distribution:
2854 movie reviews
    • 76 Metascore
    • 80 Owen Gleiberman
    The pull of Garry Winogrand’s photographs is that they dissolve the line between art and life.
    • 50 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.
    • 72 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.
    • 80 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.
    • 86 Metascore
    • 70 Owen Gleiberman
    Widows, while a highly original and entertaining variation on the heist film, isn’t a home run.
    • 71 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.
    • 64 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.
    • 75 Metascore
    • 90 Owen Gleiberman
    Schnabel, the director of “Before Night Falls” and “The Diving Bell and the Butterfly,” has stripped down his filmmaking in the most seductive way, all to achieve something audacious and elemental. He’s out to imagine what Vincent van Gogh was really like — to bask in van Gogh’s presence with an experiential, present-tense immediacy.
    • 79 Metascore
    • 70 Owen Gleiberman
    I enjoyed the film as far is it goes, especially John C. Reilly’s straight-shooter performance, yet I also found myself, at certain points, growing impatient with it.
    • 76 Metascore
    • 70 Owen Gleiberman
    Suspiria has been made with enough skill to get inside your head, but enough ominous pretension to leave you scratching it.
    • 77 Metascore
    • 70 Owen Gleiberman
    Since the episodes are uneven in quality (though the best of them seize and hold you), you may feel, at moments, that it’s too much of a just-okay thing. Yet The Ballad of Buster Scruggs, in its gnarly and ambling way, does justify its existence as a movie.
    • 87 Metascore
    • 100 Owen Gleiberman
    Cooper has made a jaggedly tender love story that is never over-the-top, an operatic movie that dares to be quiet.
    • 83 Metascore
    • 80 Owen Gleiberman
    The Other Side of the Wind, coherent and compelling as it often is, remains an arresting scrapbook of a movie that we no longer have to speculate about. What you’ll still wonder about is the movie it might have been had Welles made it from the start on the grand scale it deserved, so that you didn’t have to feel it’s a dream that, on some level, will forever be locked up in his head.
    • 92 Metascore
    • 90 Owen Gleiberman
    It’s a perfectly cut diamond of a movie — a finely executed, coldly entertaining entry in the genre of savage misanthropic baroque costume drama.
    • 96 Metascore
    • 70 Owen Gleiberman
    Roma is no mere movie — it’s a vision, a memory play that unfolds with a gritty and virtuosic time-machine austerity. It’s a Proustian reverie, dreamed and designed down to the last street corner and scuffed piece of furniture. Yet I actually think it’s far from a masterpiece, because as a viewing experience it has a slightly hermetic coffee-table-book purity. Every moment comes at you in the same methodically objective and caressing Zen way.
    • 83 Metascore
    • 100 Owen Gleiberman
    After seeing First Man, it’s doubtful you’ll think about space flight, or Armstrong’s historic walk, in quite the same way. You’ll know more deeply how it happened, what it meant and what it was, and why its mystery — more than ever — still lingers.
    • tbd Metascore
    • 60 Owen Gleiberman
    The Elephant and the Butterfly is a movie too cool-headed and present tense for backstory.
    • 68 Metascore
    • 70 Owen Gleiberman
    While it’s not as if the film comes up with some smoking gun that Robert Mueller hasn’t yet, it fills in the Trump-Russia connection in a dogged, rigorously reported, eyebrow-raising way.
    • 87 Metascore
    • 80 Owen Gleiberman
    Lively, confessional, and entertaining.
    • 58 Metascore
    • 60 Owen Gleiberman
    The last thing you want a movie like this one to feel like is a slick Hollywood suspense drama with famous historical names plugged in. Operation Finale doesn’t feel like that, yet taken on its own here’s how it really happened terms, the movie is at once plausible and sketchy, intriguing and not fully satisfying.
    • 38 Metascore
    • 60 Owen Gleiberman
    Berg, when he wants to be, is a surgical craftsman of chaos. Yet Mile 22 has little weight or resonance.
    • 63 Metascore
    • 70 Owen Gleiberman
    Alpha, a spectacular prehistoric eye-candy survival yarn, is enthralling in a square and slightly stolid way.
    • 30 Metascore
    • 30 Owen Gleiberman
    Slender Man is the kind of movie in which images come before logic, because there really isn’t much logic. There’s just a movie out to goose you.
    • 46 Metascore
    • 50 Owen Gleiberman
    If there’s a disappointment to The Meg, it’s not just that the movie isn’t good enough. It’s that it’s not bad enough.
    • 1 Metascore
    • 0 Owen Gleiberman
    In Death of a Nation, Dinesh D’Souza is no longer preaching to the choir; he’s preaching to the mentally unsound. That’s how detached from reality his “philosophy,” his armchair rage, and his passionate and consuming desire to be a radical-right shill have become.
    • 74 Metascore
    • 80 Owen Gleiberman
    The Bleeding Edge needs to be seen, so that it can change hearts and minds.

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