Owen Gleiberman: Last News

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All news where Owen Gleiberman is mentioned

dailymail.co.uk
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Whitney Houston: I Wanna Dance With Somebody earns mixed reviews from first wave of critics
One of the surprisingly few movies hitting theaters over the Christmas holiday weekend - Whitney Houston: I Wanna Dance With Somebody - is not finding a warm welcome from critics.The first wave of reviews surfaced on Wednesday morning - just days before the film hits theaters on Friday, garnering just a 41% rating from the first 32 reviews on Rotten Tomatoes.While many critics are praising the powerful performance of Naomie Ackie - who fans have bashed for looking nothing like the singer - as the famed singer, they are also bashing the formulaic story that lacks any depth.  Reviews are in: One of the surprisingly few movies hitting theaters over the Christmas holiday weekend - Whitney Houston: I Wanna Dance With Somebody - is not finding a warm welcome from criticsWhile many critics are praising the powerful performance of Naomie Ackie as the famed singer, they are also bashing the formulaic story that lacks any depth.  Critics: While many critics are praising the powerful performance of Naomie Ackie as the famed singer, they are also bashing the formulaic story that lacks any depth. One of the positive reviews is from Variety's Owen Gleiberman, who added this film felt like a different sort of biopic because Houston's struggles with substance abuse and her tumultuous marriage to Bobby Brown were always in the public eye, adding, 'Yet as you watch, you may realize how much there is to the story you didn’t know, and how transporting it is. 'I Wanna Dance With Somebody is the kind of lavishly impassioned all-stops-out biopic you either give into or you don’t — and if you do, you may find yourself getting so emotional, baby,' he added.
variety.com
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‘Halloween Ends’ Review: Michael Myers Gets a Disciple, and Jamie Lee Curtis Mopes, as the Series Ends…But Not Really (Rinse, Slash, Repeat)
Owen Gleiberman Chief Film Critic The “Halloween” series, which comes to an end this weekend (and if you believe that, I have a set of very rusty kitchen knives I’d like to sell you), has always been the least pretentious of horror franchises. A towering killer in a rubber mask pops out of the shadows to slash one victim after the next. Horror doesn’t get much more basic than that. But, of course, the “Halloween” series has always had a pretentious side too — the side that began with Donald Pleasance droning on about eee-vil, and the side that has extended, over the latest trilogy, to the top-heavy handwringing of Laurie Strode’s self-actualized guilt and despair. As for Michael Myers, who started out as a small-town killer, he has been turned, more and more explicitly, into A Force Larger Than Himself. And in “Halloween Ends,” that trend now culminates in a movie where Michael, in a certain way, is barely in the movie; he’s the film’s totem, its mascot, its looming emblem of evil. “Halloween Ends” doesn’t finish off the franchise by being the most scary or fun entry in the series. (It should have been both, but it’s neither.) Instead, it’s the most joylessly metaphorical and convoluted entry.
variety.com
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‘Is That Black Enough for You?!?’ Review: Elvis Mitchell’s Intoxicating Deep Dive into the Black Cinema Revolution of the ’70s
Owen Gleiberman Chief Film Critic In “Is That Black Enough for You?!?,” Elvis Mitchell’s highly pleasurable and eye-opening movie-love documentary about the American Black cinema revolution of the late ’60s and ’70s, Billy Dee Williams, now 85 but still spry, tells a funny story about what it was like to play Louis McKay, the dapper love object and would-be savior of Billie Holiday in “Lady Sings the Blues.” The year was 1972, and African-American audiences had rarely (if ever) been given the chance to gawk at a movie star of color who was not just this sexy but this showcased for his sexiness. Louis was like Clark Gable with a dash of Marvin Gaye; when he was on that promenade stairway, Williams says that he just about fell in love with himself. That’s how unprecedented the whole thing was. The actor recalls how the lighting was fussed over (we see a shot in which Louis appears bathed in an old-movie glow), and how unreal that was to him on the set. At the time, Black actors didn’t get lighting like that. But Black audiences drank it in with a better-late-than-never swoon, even as they knew that this was a representation they’d been denied for more than half a century.

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