Owen Gleiberman

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Entertainment Weekly, Variety
For 3,941 reviews, this critic has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 0.6 points lower than other critics. (0-100 point scale)

Owen Gleiberman's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Kid Stays in the Picture
Lowest review score: 0 The Haunting of Sharon Tate
Score distribution:
  1. Positive: 2,334 out of 3941
  2. Mixed: 1,194 out of 3941
  3. Negative: 413 out of 3941
3941 movie reviews
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    • 55 Metascore
    • 30 Owen Gleiberman
    Ambulance
    Ambulance is simply too much of a not-so-good thing. It never stops huffing and puffing to entertain you, but it’s joyless: a tale of escape that’s far from a great escape, because for all its motion it’s going through the motions.
    • 66 Metascore
    • 60 Owen Gleiberman
    Olivia Rodrigo: driving home 2 u (a SOUR film)
    A decently baked slice of fan service that still seems like it might be arriving a little too soon.
    • 62 Metascore
    • 80 Owen Gleiberman
    Sheryl
    "Sheryl" tells these anecdotes, and others, in a swift and captivating fashion, with the director, Amy Scott, in engaging command.
    • 69 Metascore
    • 80 Owen Gleiberman
    Bodies Bodies Bodies
    Bodies Bodies Bodies, with its restless camera movement and improv-style acting and general overdramatic rambunctiousness, is like “And Then There Were None” staged by John Cassavetes for the age of Instagram.
    • 80 Metascore
    • 80 Owen Gleiberman
    X
    X is a wily and entertaining slow-motion ride of terror that earns its shocks, along with its singular quease factor, which relates to the fact that the demons here are ancient specimens of humanity who actually have a touch of…humanity.
    • 68 Metascore
    • 80 Owen Gleiberman
    The Unbearable Weight of Massive Talent
    It’s a commercial comedy that has a delirious good time poking fun at Nicolas Cage, celebrating everything that makes him Nicolas Cage — and, in the end, actually becoming a Nicolas Cage movie, which turns out to be both a cheesy thing and a special thing.
    • 55 Metascore
    • 70 Owen Gleiberman
    The Adam Project
    The movie is a total trifle, but it’s often a diverting one — a wide-eyed sci-fi adventure with a screwball buoyancy.
    • 42 Metascore
    • 70 Owen Gleiberman
    Tyler Perry's A Madea Homecoming
    It’s the fastest, funniest “Madea” movie in quite some time.
    • 75 Metascore
    • 90 Owen Gleiberman
    The Automat
    The Automat taps into so many resonant aspects of what America used to be that to watch it is to be drawn into an enchanting and wistfully profound time-tripping reverie.
    • 46 Metascore
    • 40 Owen Gleiberman
    The Burning Sea
    The movie has every right to be fiction, but the heart of its drama lies in its patina of plausibility.
    • 34 Metascore
    • 30 Owen Gleiberman
    Texas Chainsaw Massacre
    It would be generous to call the film a continuation of the “Chainsaw” saga. It’s more like a blood-soaked but unscary footnote.
    • 45 Metascore
    • 60 Owen Gleiberman
    Uncharted
    Uncharted is a lively but thinly scripted and overlong mad-dash caper movie, propelled by actors you wish, after a while, had more interesting things to say and do.
    • 51 Metascore
    • 60 Owen Gleiberman
    Marry Me
    The bar for rom-coms is not high, and this one, ludicrous as it often is, inches over the bar. But I would no more call it a good movie than I’d pretend fast food is high in nutrients.
    • 79 Metascore
    • 80 Owen Gleiberman
    Kimi
    It’s a welcome reminder that less, in the movies, can sometimes be more.
    • 52 Metascore
    • 60 Owen Gleiberman
    Death on the Nile
    It’s a moderately diverting dessert that carries you right along. It never transcends the feeling that you’re seeing a relic injected with life serum, but that, in a way, is part of its minor-league charm.
    • 74 Metascore
    • 70 Owen Gleiberman
    Jackass Forever
    You can only hope, for these dudes’ sakes, that “Jackass” isn’t forever. But for now it’s earning its yucks, and its yuck.
    • 73 Metascore
    • 90 Owen Gleiberman
    Lucy and Desi
    A nimble and fascinating documentary.
    • 82 Metascore
    • 80 Owen Gleiberman
    Navalny
    The film flashes back to the poisoning, and it could be the most sickening and calamitous suspense-thriller episode you ever saw.
    • 69 Metascore
    • 80 Owen Gleiberman
    The Princess
    A perfectly timed, compulsively watchable once-over-lightly documentary. ... After all [the recent] dramatic treatments, it’s galvanizing to see the real story laid out exactly as it happened — or, more precisely, as it happened and as it was presented to the public, those being, quite often, two very different things.
    • 76 Metascore
    • 80 Owen Gleiberman
    Nothing Compares
    [An] incisive and poignant documentary ... Sinéad O’Connor was a fire that went out too fast. "Nothing Compares" makes you see it’s still burning.
    • 73 Metascore
    • 90 Owen Gleiberman
    Palm Trees and Power Lines
    Palm Trees and Power Lines finds a truth, one it wrenches out of an experience.
    • 53 Metascore
    • 50 Owen Gleiberman
    Sharp Stick
    Sharp Stick, in its quick verbal exchanges, its naked sexuality, its general air of busting taboos as if they were oversize balloons, is recognizably a Lena Dunham movie. But it’s the first one of her projects in which the parts don’t quite add up, because it seems as if what we’re watching hasn’t been so much created as contrived.
    • 69 Metascore
    • 70 Owen Gleiberman
    Cha Cha Real Smooth
    Cha Cha Real Smooth works overtime to be an honest movie, and it also works overtime to ingratiate itself. In a sense, it accomplishes both aims, but I’m not sure that they entirely go together.
    • 84 Metascore
    • 80 Owen Gleiberman
    Fire of Love
    Fire of Love, which has been directed by Sara Dosa with a discursive, let’s-try-it-on lyricism, is like one of Werner Herzog’s documentaries about fearless outliers, only this one is touched with romance.
    • 73 Metascore
    • 70 Owen Gleiberman
    Emergency
    Emergency, in its racially aware way, turns into something that feels not unlike an ’80s comedy. It has winning flashes of wit, of observation, of telling satire. But it’s fundamentally about the situation.
    • 60 Metascore
    • 70 Owen Gleiberman
    Scream
    The new Scream is about as good as “Scream 2” was — it keeps the thrill of the original “Scream” bouncing in the air like a blood-drenched balloon — but the film is basically a set of variations on a very old sleight-of-hand fear blueprint. Except that it’s now old enough to seem new again.
    • 40 Metascore
    • 60 Owen Gleiberman
    The 355
    The 355” is a vigorous formula action spy flick with an out-of-the-frying-pan-into-the-fire plot that mostly holds your attention, periodically revs the senses, and gives its actors just enough to work with to put a basic feminine spin on the genre. I make a point of that because the film does too.
    • 85 Metascore
    • 80 Owen Gleiberman
    The Novice
    Isabelle Fuhrman infuses Dall with an ambiguous glower of ambition that’s scary and human.
    • 44 Metascore
    • 50 Owen Gleiberman
    The King's Man
    The film oscillates, rather awkwardly, between grandiose cartoon heroics and a kind of dutiful flatness.
    • 60 Metascore
    • 90 Owen Gleiberman
    Being the Ricardos
    The dialogue in Being the Ricardos has the blunt directness, dagger wit, and perfectly cut corners of Sorkinese ­­— a sound that might be described as hardass Talmudic screwball. Beyond that, though, the entire movie is a piece of thrillingly stylized compression. It gets a real head of steam going, a hurtling energy and anxiety that rides on everything Lucy is feeling.
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