Owen Gleiberman

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‘Thrash’ Review: It’s Netflix and Chomp, as Phoebe Dynevor Stars in a Familiar but Gruesomely Competent Shark Thriller

“Thrash,” like just about every shark thriller, has a grade-Z son-of-“Jaws” quality. (The one exception: the ingenious “Open Water.”) Everything in the movie, from the chomping shark attacks that splash up...

‘Faces of Death’ Review: A ’70s-Style B-Horror Movie Taps into the Growing Appetite for Horror That’s ‘Real’

In the 1970s, when horror movies started to get more and more extreme, it wasn’t just the blood and the savagery that increased. So did the sensation that you were seeing...

‘Dog Day Afternoon’ Broadway Review: Jon Bernthal Takes the Al Pacino Role in a Canny Piece of Stagecraft That Can’t Rival the Movie’s Haunting...

Why turn “Dog Day Afternoon,” one of the greatest and most iconic of New Hollywood movies, into a Broadway play? It’s not the first legendary film of the ’70s to get...

‘The Last Critic’ Review: A Captivating Portrait of Robert Christgau, the Brilliant Mad Professor of Rock Critics, and How He Made the Grade

As a critic, I should probably take offense at the title of “The Last Critic.” The movie is a captivating portrait of Robert Christgau, the legendary music writer who was one...

‘The AI Doc: Or How I Became an Apocaloptimist’ Review: A Scary, Dizzying and Essential Deep Dive into the AI Revolution

“The AI Doc: Or How I Became an Apocaloptimist” is a scary, dizzying and essential documentary. If you have any interest in artificial intelligence (which is to say: the future), you...

‘Tow’ Review: Rose Byrne Plays Another Charismatic Pill — a Seattle Homeless Woman Fighting to Get Her Car Back

The “Marty Supreme” question that got old in about five minutes — was the title character likable enough? —shouldn’t even be allowed in the same room with Rose Byrne. From the annoyingly...

‘Forbidden Fruits’ Review: The Salesgirls Are Witches in a Depraved Satirical Thriller That’s Like ‘Mean Girls’ Meets ‘The Craft’ Touched with Something Darker

If you see one spicy depraved satirical thriller this year that’s a cross between “Mean Girls” and “The Craft” and something far darker, by all means make that movie “Forbidden Fruits.”...

The 2026 Oscars Review: A Tasteful and Overly Safe Show Sustained by Just Enough Suspense

In the best of all worlds, the Oscars are exciting: fun and suspenseful, moving and meaningful. At their most supreme, they leave you with the feeling that movies matter. In the...

Owen Gleiberman

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