For 706 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 4.2 points lower than other critics. (0-100 point scale)

Connie Ogle's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Atonement
Lowest review score: 0 Rollerball
Score distribution:
706 movie reviews
    • 71 Metascore
    • 75 Connie Ogle
    A one-joke movie, but it’s a pretty good joke, and the fact that it’s based on a true story only makes the gag more delicious.
    • 59 Metascore
    • 63 Connie Ogle
    Absolutely Fabulous works best consumed bite-sized; there’s not enough here to warrant a full-length movie. Too much feels like padding.
    • 76 Metascore
    • 63 Connie Ogle
    Gerwig and Hawke are outstanding reasons to see this movie, but your patience — just like Maggie’s — will be tested before it’s over.
    • 51 Metascore
    • 75 Connie Ogle
    Me Before You is a sugar-coated romantic bauble, not a gritty documentary. Giving into its pleasures is not for everyone, but its message — live boldly, as the movie’s hashtag encourages — is an admonition that’s awfully hard to argue.
    • 87 Metascore
    • 75 Connie Ogle
    Watching Beckinsale evade and persuade and charm and infuriate is an utter delight. You might not want Lady Susan in your home, but she’s a force of nature in this amusing film.
    • 68 Metascore
    • 75 Connie Ogle
    Scafaria — who wrote and directed "Seeking a Friend for the End of the World" and co-wrote "Nick and Norah’s Infinite Playlist" — elevates the material with a terrific eye for detail, an understanding of the complexities of mother-daughter relationships and a generous sense of humor.
    • 79 Metascore
    • 75 Connie Ogle
    Carney gets everything right here: Sing Street hums with authenticity.
    • 47 Metascore
    • 50 Connie Ogle
    I Saw the Light, though, doesn’t live up to Hiddleston’s efforts; it’s shallow and disjointed, handicapped by a weak, cliche-sodden script.
    • 33 Metascore
    • 50 Connie Ogle
    The film moves jerkily, in fits and starts, squandering its promising setup and bogging down in explanation.
    • 57 Metascore
    • 63 Connie Ogle
    Fey is a good fit with the material, and her co-stars are all solid, including Billy Bob Thornton as a laconic general; Martin Freeman as a boozy, charming Scottish journalist; Alfred Molina as a local politician with a crush on Kim; and Christopher Abbott (Girls) as Kim’s fixer and translator (he tries to keep her out of trouble).
    • 45 Metascore
    • 38 Connie Ogle
    James and Riley might make an interesting Elizabeth and Darcy in a traditional Pride and Prejudice, but this version? It’s dead on arrival.
    • 70 Metascore
    • 75 Connie Ogle
    The Lady in the Van doesn’t give in to platitudes. It’s unnervingly honest about its subject.
    • 55 Metascore
    • 75 Connie Ogle
    Director/screenwriter Peter Landesman builds a solid dramatic story around this premise, and Smith delivers a terrific, award-worthy performance as Omalu, nailing his Nigerian accent, his intelligence, his determination to do what he knows is right.
    • 56 Metascore
    • 63 Connie Ogle
    Joy
    What the film truly reveals is something else entirely: how Jennifer Lawrence can elevate any material, any time, even middle-of-the-pack fare like this.
    • 87 Metascore
    • 100 Connie Ogle
    With compassion, a touch of melancholy and a sense of wonder, Brooklyn reveals the profound truths in a simple, familiar story, ending on a note that’s achingly bittersweet, no matter where you’re from.
    • 67 Metascore
    • 75 Connie Ogle
    Some of the developments feel a bit predictable — shot in the dull hues of gray that match Maud’s life, Suffragette occasionally turns hard truths into platitudes — but the story is inspiring, buoyed by a fine cast, a pointed, important examination of the price paid for a shot at equality.
    • 86 Metascore
    • 88 Connie Ogle
    The real trick, of course, was casting the perfect child actor to carry the heavy load, and Tremblay is a wonder. The smart camera work helps highlight Jack’s perspective, but Abrahamson has also coaxed a genuine, marvelous performance out of the kid that’s key to the film’s emotional weight.
    • 75 Metascore
    • 88 Connie Ogle
    Gerwig, not surprisingly, is a marvel: mercurial, thin-skinned, haughty, desperate, funny, warm, a magnetic presence who mesmerizes the audience in the same way she attracts Tracy.
    • 51 Metascore
    • 50 Connie Ogle
    Too much of the breezy humor that made the book a delight is stripped away, replaced with predictable jokes and broad slapstick, sitcom-quality encounters with women and bears and a pushy, grating sentimentality.
    • 76 Metascore
    • 75 Connie Ogle
    Well-acted and sincere, Testament of Youth is chastely romantic in its treatment of the relationship between Vera and Roland, but the film doesn’t hold back on showing the horror of trench warfare.
    • 60 Metascore
    • 50 Connie Ogle
    If Magic Mike XXL is bulging with anything, it’s inane conversation.
    • 65 Metascore
    • 63 Connie Ogle
    In the end The Overnight promises more than it can deliver: Some of the supposedly provocative material ends up being juvenile, and the movie ends just as the situation gets truly, weirdly interesting. It’s too tame a resolution to a film that suggested the capacity for more.
    • 74 Metascore
    • 63 Connie Ogle
    Even Greg’s tattooed and charismatic history teacher (Jon Bernthal) is more interesting than the self-absorbed kid we’re supposed to care about.
    • 58 Metascore
    • 50 Connie Ogle
    As it is, Gemma Bovery is as dry as day-old bread: Not inedible, but why bother with it if you can find something fresher?
    • 71 Metascore
    • 75 Connie Ogle
    The film never allows any of its characters to fall into stereotype; they are complex creatures, full of anger and disappointment and passion, and even the weakest among them is not bereft of honor.
    • 51 Metascore
    • 50 Connie Ogle
    The Age of Adaline is a modern romantic fairy tale set in San Francisco, marred by bad narration and an unnecessary desire to overexplain random magic.
    • 33 Metascore
    • 38 Connie Ogle
    Merely adding an older generation of lovers to a love story does not make your romance one for the ages. Doesn’t even make it "The Notebook."
    • 54 Metascore
    • 50 Connie Ogle
    This period piece, directed by Richard Laxton, is shot in such a grim and grainy fashion you long to turn on the lights — which is fitting, because you also wish the filmmakers had illuminated the characters a bit more clearly.
    • 42 Metascore
    • 50 Connie Ogle
    Unfortunately, Insurgent can’t quite live up to its intriguing set up. Even if you’re curious about it, the movie is often plodding and frequently nonsensical, with action that never feels novel or exciting.
    • 67 Metascore
    • 75 Connie Ogle
    Blanchett manages to project the idea that there’s more to this woman than mere banal evil. Cinderella may well be the heroine of this story, but if you wanted someone to have a few drinks with, you’d pick her stepmother in a heartbeat.

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