Owen Gleiberman

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‘Terrifier 3’ Review: Art the Clown Is Back in the Latest and (If It’s Even Possible) Sickest Entry Yet in the Gruesomely Inventive Franchise

If they gave out an Academy Award for best performance by a silent harlequin in a white clown suit who can mime a giggle fit while slicing people’s faces off (don’t...

‘Blitz’ Review: Steve McQueen’s World War II Film Is Skillful and Touching Yet Almost Shockingly Conventional

In London, late in 1940, the German bombs fall, erupting into an inferno of buildings gutted by glowing orange flame. People die right in their living rooms, seated in their armchairs....

‘The Fire Inside’ Review: Ryan Destiny Gives a Powerfully Gritty Performance in a True-Life Boxing Drama That’s Like ‘Girlfight’ Meets ‘Air’

“What you think about girls’ boxing?” The man asking that is Jason Crutchfield (Brian Tyree Henry), the coach of a boys’ boxing club in Flint, Michigan. It’s 2012, and five years...

In the Vice-Presidential Debate, Tim Walz Had Better Policy Points, But His Agitated Delivery Rolled Right Off J.D. Vance’s Reaganesque Smoothness

Donald Trump, as dark and threatening as his second presidency would be to this country, has never stopped acting like the politician as walking TV show — a reality-based character who...

‘One to One: John & Yoko’ Review: A Revelatory Inside Look at John Lennon, in Concert and in the World

I’ve seen documentaries reveal fascinating dimensions of John Lennon — films like “The U.S. vs. John Lennon” (2006), which chronicled his political activism and the Nixon administration’s attempts to deport him, or...

What Does ‘Saturday Night’ Think ‘Saturday Night Live’ Is About?

When I first heard about the premise of Jason Reitman’s “Saturday Night” — the entire film takes place in the 90 minutes leading up to the late-night comedy landmark’s first episode in...

‘Killer Heat’ Review: Okay Greek-Island Noir, with Joseph Gordon-Levitt and Shailene Woodley in the Tale of a Murderous Love Triangle

A good tasty noir, like “Love Lies Bleeding,” always feels contemporary, even if set in the past; that’s because it should feel as urgent as the love-and-death stakes it’s about. “Killer...

Owen Gleiberman

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