Owen Gleiberman

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‘Bob Trevino Likes It’ Review: Barbie Ferreira and John Leguizamo Are Broken Souls Who Meet on the Internet in a Four-Hankie Indie Gem

Once in a while, you see an actor who isn’t held back by the decorum that rules even most good actors. Her emotions don’t stay in check — they spill over...

‘The Makings of Curtis Mayfield’ Review: H.E.R. Directs an Irresistible Celebration of the ’70s Funk-Soul Genius

Early on in “The Makings of Curtis Mayfield,” H.E.R., the 27-year-old R&B pop star who directed the film and appears in it as its interviewer and tour guide, offers a telling...

‘Starman’ Review: An Outer Space Documentary That’s Out of This World

When I was four, my parents took me to a planetarium for the first time. It was a huge one, in Chicago; it seemed as big as space itself. I enjoyed...

‘Another Simple Favor’ Review: At SXSW, Anna Kendrick and Blake Lively Return for a Sequel That Has More Twists and Less Fun

Like a cocktail made of ingredients that aren’t meant to go together, but that stimulate your taste buds in a just sweet-and-tart, gin-and-blood-orange enough way that you keep sipping it, “A...

‘CHAOS: The Manson Murders’ Review: Errol Morris’ Manson Documentary Gets Lost in the Fog of Conspiracy

I’m one of those people — there are a lot of us — who is always up for a Charles Manson movie. There have been so many! All the documentaries and...

Oscars Review: Conan O’Brien Rocked His Hosting Debut, but the Telecast Felt Too Small for Hollywood’s Biggest Night

In a sense, you could say it was like the good old days. Oscar night, whether the telecast is great or just so-so (I’m all but incapable of finding the Oscars...

The Year When Oscar Narratives Ate the Oscars

The Oscars have long been called a “horse race,” and in any such contest the horses are bound to shift position. One horse can pull ahead, and then fall behind. That...

‘Last Breath’ Review: Woody Harrelson and Simu Liu in a True-Life Undersea Rescue Thriller That Takes You Down and Lifts You Up

There’s a certain kind of true-life logistical rescue drama — Ron Howard’s “Apollo 13” is the granddaddy of them — that makes you realize how larded with theatrical devices most movies...

Owen Gleiberman

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