Owen Gleiberman

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For 2,902 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 Joan Rivers: A Piece of Work
Lowest review score: 0 Bangkok Dangerous
Score distribution:
2902 movie reviews
    • 41 Metascore
    • 50 Owen Gleiberman
    It’s good to see Shyamalan back (to a degree) in form, to the extent that he’s recovered his basic mojo as a yarn spinner. But Glass occupies us without haunting us; it’s more busy than it is stirring or exciting.
    • tbd Metascore
    • 40 Owen Gleiberman
    American Hangman belongs to that species of grade-Z movie that’s at once grisly and pretentious. It’s trash with a lot on its mind.
    • 49 Metascore
    • 40 Owen Gleiberman
    The first part of the film gets some airy momentum going. Then, however, we learn the secret of what the characters have in common, and it gives you that slightly sinking feeling of one contrivance too many.
    • 80 Metascore
    • 60 Owen Gleiberman
    The movie has won year-end attention (it made this year’s Oscar documentary short list), and once you let yourself glide onto its wavelength, it’s got a cosmically becalmed addictive quality.
    • 47 Metascore
    • 70 Owen Gleiberman
    Even though Second Act shouldn’t work, it does (sort of). It’s got flow, a certain knowing ticky-tackiness about its own contrivances. You know you’re watching a connect-the-dots comedy, but the dots sparkle. And Lopez gives her first star performance in a while. Age has enriched her talent; she brings curlicues of experience to every scene.
    • 40 Metascore
    • 50 Owen Gleiberman
    The film is far from incompetent, and it brims with ambition, but too much of the time what’s happening just sits there. It’s a lavishly odd concoction, like a feel-good movie for OCD miniature-world Barbie-doll fetishists.
    • 61 Metascore
    • 60 Owen Gleiberman
    The movie, though it pretends to reveal how power works, is ultimately content to remain on the outside, sticking its finger in the eye of power.
    • 66 Metascore
    • 80 Owen Gleiberman
    It’s a rapturous piece of nostalgia — a film that devotes itself, in every madly obsessive frame, to making you feel happy in the guileless way a movie still could back in 1964.
    • 42 Metascore
    • 50 Owen Gleiberman
    It now takes more than it once did to shock us, and Back Roads wants to do just that, but the effect, in this case, is more audacious than it is convincing.
    • 71 Metascore
    • 80 Owen Gleiberman
    In the piercing and perceptive documentary Divide and Conquer: The Story of Roger Ailes, it’s fascinating, in an outrageous and distressing way, to witness the moment when Ailes transformed the nation’s political landscape virtually overnight.
    • 60 Metascore
    • 80 Owen Gleiberman
    The American Meme is a film I very much recommend, since it’s both highly entertaining and an essential snapshot of the voyeuristic parasitic American fishbowl.
    • 37 Metascore
    • 50 Owen Gleiberman
    Viewers hooked on the spectacle of demonic possession tend to like their satanic tropes served neat. The Possession of Hannah Grace serves them sloppy, if not without a certain random soupçon of grisly style.
    • 32 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.
    • 95 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.
    • 69 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.
    • 71 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.
    • 76 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.

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