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 Every Little Step
Lowest review score: 0 Bratz
Score distribution:
706 movie reviews
    • 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.
    • 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.
    • 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).
    • 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.
    • 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.
    • 64 Metascore
    • 50 Connie Ogle
    The idea of cracking a secret message from the enemy during war is thrilling; making the process interesting to watch is more problematic.
    • 48 Metascore
    • 50 Connie Ogle
    The film relies a bit too much on the humor of older women flipping each other off and mouthing obscenities, although it is hilarious to see the usually proper Smith frantically chopping up a roofie to slip into Sidda's drink.
    • 33 Metascore
    • 50 Connie Ogle
    Schwarzenegger doesn't at all seem too old for the part; his bulging muscles still fill the action-hero's suit just fine. It's what he's doing that is tired and, maybe, played out.
    • 48 Metascore
    • 50 Connie Ogle
    The biggest offense in the somewhat unimaginative but serviceable legal thriller High Crimes is that the venerable Morgan Freeman simply does not get enough screen time, and when he's up there, he doesn't have enough to do.
    • 34 Metascore
    • 50 Connie Ogle
    On the Line's cutesy premise is no more ridiculous than that of most romantic comedies.
    • 49 Metascore
    • 50 Connie Ogle
    McGillis, though, is the film's worst enemy. Her wooden attempts to recreate Kathleen Turner circa 1981 undermine too many scenes.
    • 82 Metascore
    • 50 Connie Ogle
    Late Marriage's stiffness is unlikely to demonstrate the emotional clout to sweep U.S. viewers off their feet.
    • 43 Metascore
    • 50 Connie Ogle
    What's lacking is any sense of Beverly's brightness. She's supposedly smart, but she never displays a shred of intelligence.
    • 54 Metascore
    • 50 Connie Ogle
    It's fitting. Valentin and Jane may be awakening from life's slumber, but mostly they're just putting us to sleep.
    • 51 Metascore
    • 50 Connie Ogle
    This is an insignificant film with a passably entertaining premise that goes wildly to hell the instant it strays from its comic ideals with brief, unsatisfying detours into the realms of art and high-end lingerie.
    • 56 Metascore
    • 50 Connie Ogle
    Midlands finds some measure of success in its use of regular, real-looking people -- as opposed to the oddly glamorous characters who turn up in most romantic comedies -- but it's as though the writer used up all the personality traits before he got to Shirley.
    • 51 Metascore
    • 50 Connie Ogle
    Assassination Tango offers little heat. In dancing with death, Duvall stumbles a few too many times.
    • 55 Metascore
    • 50 Connie Ogle
    There was a fine family drama to be made here, but what we get instead is too sweet to swallow.
    • 63 Metascore
    • 50 Connie Ogle
    Comes off curiously flat.
    • 66 Metascore
    • 50 Connie Ogle
    A slightly dull film by photographer Sam Jones.
    • 37 Metascore
    • 50 Connie Ogle
    It's safe to say that without De Niro Analyze This and That couldn't even exist; or rather, if they did, they would be unwatchable. De Niro is that important to the mix.
    • 60 Metascore
    • 50 Connie Ogle
    Put in such an uncomfortable position, the audience needs something to fall back on, like chemistry between its stars. Here that's half-hearted at best.
    • 52 Metascore
    • 50 Connie Ogle
    What we're left with is an unfocused, rambling concept that lumbers off the ground but never really soars to the level of lunacy it could, especially at the afterthought of an ending, which is nonsensical at best.
    • 57 Metascore
    • 50 Connie Ogle
    In the wake of TV's powerhouse "The Shield," Dark Blue comes off as something of a retread, with little of "The Shield's" electric fury, edgy camera work or deft characterizations.
    • 46 Metascore
    • 50 Connie Ogle
    May be dumb, but it must be noted that the screenwriters of this slight, silly comedy have borrowed from the best.
    • 35 Metascore
    • 50 Connie Ogle
    The film is well-scrubbed of anything resembling sexuality, more a nonthreatening fairy tale than the romantic drama it aims to be. Its appeal flies straight to the hearts of 13-year-old girls.
    • Miami Herald
    • 63 Metascore
    • 50 Connie Ogle
    The film is weighted down by a dour sensibility at odds with the book's insouciant charm.
    • 44 Metascore
    • 50 Connie Ogle
    Right now, this goofy film is the best candidate for mindless, enjoyable laughs.
    • 45 Metascore
    • 50 Connie Ogle
    Mostly honest in its portrayal of teen sexuality -- it exists, whether we like it or not -- but also offers up the troubling notion of teen pregnancy as romantic and magical.
    • 48 Metascore
    • 50 Connie Ogle
    Sobieski manages to make Jennifer's inevitable transformation more than a little bittersweet. Apparently even clichés click sometimes.
    • 28 Metascore
    • 50 Connie Ogle
    The sloppy charms of Just Married don't exactly break new ground, but they don't make you want to swear off romantic comedy forever, and in these "Maid in Manhattan" days that's saying something.
    • 31 Metascore
    • 50 Connie Ogle
    There's no real artistry to this: It's as though Parker has just seen "Seven" and suffered some sort of David Fincher flashback.
    • 62 Metascore
    • 50 Connie Ogle
    The uneven Goldmember seems to take a big step toward the extremely juvenile, with more scatological and fewer sex jokes
    • 58 Metascore
    • 50 Connie Ogle
    The misery is there, all right, in every woozy, spaced-out shot of Hoffman clutching his gas-soaked rag. But in the end, do we really care?
    • 39 Metascore
    • 50 Connie Ogle
    Taking a lightweight comedy such as this seriously is probably a fatal error, but there's no way around it: This House is built on a shaky foundation.
    • 41 Metascore
    • 50 Connie Ogle
    It's a cheery, impossible fantasy.
    • 51 Metascore
    • 50 Connie Ogle
    Despite its contemporary-sounding anti-French cracks, could easily have been made 20 years ago.
    • 56 Metascore
    • 50 Connie Ogle
    Compare Sylvia to another, more powerful film about a tragic literary death: "Iris," about Iris Murdoch's descent into Alzheimer's, leaves you with an aching heart and reddened eyes. After the equally sorrowful Sylvia, we are entertained but unmoved.
    • 38 Metascore
    • 50 Connie Ogle
    Trailers make it seem as though Radio is all about football, but it's not, and once the film leaves the fall sport behind it wanders around in no particular direction until it reaches an abrupt, poorly executed ending.
    • 38 Metascore
    • 50 Connie Ogle
    If you try hard enough, you might be able to forget that the story doesn't make a lot of sense or provide adequate thrills, although it tries to scare you a couple of times in the cheapest possible way.
    • 34 Metascore
    • 50 Connie Ogle
    Won't surprise you, but it's more tolerable than the grating, garish, millinery-challenged Cat. Besides, a cadaverous Terence Stamp trumps a glossy Alec Baldwin as a bad guy any day.
    • 55 Metascore
    • 50 Connie Ogle
    Worst of all, nothing happens that we don't see coming. Nothing. If, as Nathan seems to believe, surprise is a crucial element in any campaign, then The Last Samurai might win a battle or two for your attention but is doomed to lose the Oscar war.
    • 45 Metascore
    • 50 Connie Ogle
    The film seems more an excuse to attack a target than an exercise in solid storytelling.
    • 44 Metascore
    • 50 Connie Ogle
    Something we've all seen before, far too many times, not only in its premise but also in its lame parade of scatological jokes and its sad, tired pratfalls.
    • 30 Metascore
    • 50 Connie Ogle
    Better than you might expect despite its awkward, slow beginning, drawing you in gradually and paying off in surprisingly effective and bittersweet ways.
    • 68 Metascore
    • 50 Connie Ogle
    Unfortunately Miracle is long on cliché and short on originality.
    • 48 Metascore
    • 50 Connie Ogle
    You can tell they're desperate when they unashamedly resort to showcasing cutesy sea-creature behavior. Sandler is a funny guy. Let him work for his own laughs. He doesn't need a puking walrus to prop him up.
    • 26 Metascore
    • 50 Connie Ogle
    Twisted is a movie so derivative it's hard to pinpoint exactly how many other thrillers it poaches from.
    • 54 Metascore
    • 50 Connie Ogle
    The racing itself is entertaining enough, though it's not so mesmerizing as the shorter, more focused competition in the far-superior "Seabiscuit."
    • 46 Metascore
    • 50 Connie Ogle
    In the end Secret Window asks too much, demands allegiance when only incredulity can be mustered.
    • 34 Metascore
    • 50 Connie Ogle
    The first film was tedious in the extreme; Monsters Unleashed, though it feels way too long and padded, it shows at least brief flashes of imagination.
    • 46 Metascore
    • 50 Connie Ogle
    The film's failure to adhere to one of the most important rules of humor -- never give extensive screen time to someone who is not the slightest bit funny -- prevents it from being a completely enjoyable, if silly, romp.
    • 44 Metascore
    • 50 Connie Ogle
    Mostly, by story's end, we're just glad they and their unfortunate clothing are out of our sight for good.
    • 47 Metascore
    • 50 Connie Ogle
    What most hurts The Day After Tomorrow is its unfortunate, lecturing tone.
    • 53 Metascore
    • 50 Connie Ogle
    You won't necessarily applaud The Notebook's excesses, but its final moments of grace will leave you in a sodden heap on the theater floor.
    • 53 Metascore
    • 50 Connie Ogle
    There are not enough thrilling musical interludes, and few come close to capturing the sly joy in Porter's music.
    • 60 Metascore
    • 50 Connie Ogle
    What's missing most in the film, though, is a palpable sense of tension.
    • 36 Metascore
    • 50 Connie Ogle
    Together (Hunter/Murphy) they're actually sort of fun to watch, and it's amusing to realize, not quite halfway through the film, that its most potent chemistry exists between them.
    • 64 Metascore
    • 50 Connie Ogle
    Soon settles down into a drizzle of steady mediocrity, never living up to all the frenzy of those first few moments.
    • 53 Metascore
    • 50 Connie Ogle
    With more time and a dash more cynicism, the film just might have achieved the thrilling allure of Becky Sharp's perfectly icy heart.
    • 60 Metascore
    • 50 Connie Ogle
    Entertaining in spite of itself.
    • 40 Metascore
    • 50 Connie Ogle
    You might not think it would be easy to make a dull film about love, war and a bisexual threesome, but Head in the Clouds manages this task efficiently.
    • 31 Metascore
    • 50 Connie Ogle
    Just one more in the plague of weak Cinderella stories released in the past year. It's too sugary to be good for you, but in the end, its over-the-top sweetness won't kill you.
    • 46 Metascore
    • 50 Connie Ogle
    If nothing else, director/screenwriter Jordan Roberts knows good music. If only we could say the same about his script.
    • 44 Metascore
    • 50 Connie Ogle
    An uninspired, sporadically funny adaptation that falls short of the book's winsome, frisky chaos.
    • 46 Metascore
    • 50 Connie Ogle
    A film based on this information is potentially interesting, but Conspiracy of Silence, set in modern-day Ireland, is incoherent and often hard to follow.
    • 40 Metascore
    • 50 Connie Ogle
    Flamboyantly over-the-top, visually kinetic.
    • 63 Metascore
    • 50 Connie Ogle
    Shakespeare's rich language does not fit soundly inside every mouth.
    • 48 Metascore
    • 50 Connie Ogle
    Johansson is magnetic enough to make this batch of Southern-fried corn almost digestible.
    • 55 Metascore
    • 50 Connie Ogle
    The real Guerin deserves a more complete cinematic tribute.
    • 35 Metascore
    • 50 Connie Ogle
    Its frights are not that chilling or original, its secrets more run-of-the-mill than astounding.
    • 44 Metascore
    • 50 Connie Ogle
    Unlike Uncle Nino's garden, the film never blooms into anything special.
    • 30 Metascore
    • 50 Connie Ogle
    Don't expect perfection, and you'll emerge from this goofy movie all in one piece, with reasonably entertained kids and a milder headache.
    • 44 Metascore
    • 50 Connie Ogle
    From the first strains of its overly dramatic, self-important score -- come on, this is not by any stretch of the imagination "Citizen Kane."
    • 55 Metascore
    • 50 Connie Ogle
    The cast, which includes Kim Cattrall (Sex and the City) as a coach who pushes her daughter too hard, is likable and energetic, and the film's messages are entirely reasonable.
    • 59 Metascore
    • 50 Connie Ogle
    The film, bound to bore the socks off impatient viewers, mistakes reserve for depth and ends up hamstringing its talented cast into playing characters you never care about all that much.
    • 33 Metascore
    • 50 Connie Ogle
    The good news is the updated version is scarier than the original, thanks to snazzier special effects, a shorter running time, moody lighting, a few solid jolts and one icky moment involving a bratty babysitter and a closet. The bad news is the film rehashes every horror movie cliché you can imagine.
    • 53 Metascore
    • 50 Connie Ogle
    Solondz's determinedly removed eye for the graphic and shocking is by now practically a cliche. If Solondz really wants to outrage anyone, he'll have to make a sweet and heartfelt drama.
    • 63 Metascore
    • 50 Connie Ogle
    The film's opening credits are terrific, and the first 10 or 15 minutes -- in which Ford and Arthur speedily load up on beer at the local pub -- are absorbing and funny. It's such a promising start that it's doubly deflating to realize that once they land on Zaphod's spaceship, the humor vaporizes.
    • 47 Metascore
    • 50 Connie Ogle
    Neither scary nor thrilling, although it's reasonably entertaining despite an abundance of haunted-house clichés, the usual inexplicable scary-movie behavior and an almost-naked John Hurt.
    • 51 Metascore
    • 50 Connie Ogle
    The sins of the inspirational Saint Ralph are venial, but they undeniably prevent the small Canadian film from stretching beyond the boundaries of an After School Special.
    • 46 Metascore
    • 50 Connie Ogle
    Allegedly it's based on a true story, which is believable only because the outcome is so unsatisfying it carries the dull metallic tang of real-life ambiguity. And that's neither scary nor stimulating.
    • 58 Metascore
    • 50 Connie Ogle
    The problem -- aside from the fact that one of the best things about Foer's story is its irreverent, intricate, just-maybe-brilliant writing -- is what Schreiber has decided to cut.
    • 45 Metascore
    • 50 Connie Ogle
    In the thriller Into the Blue, the Bahamian waters dazzle the eye. They are breathtaking and welcoming, possessing mysterious depths. The same cannot be said for the film's stars, Paul Walker and Jessica Alba, who are every bit as gorgeous as the scenery but not quite so profound.
    • 36 Metascore
    • 50 Connie Ogle
    Features one of the more pointless cameos ever when Tom Waits shows up abruptly in the desert to spout mystical nonsense about Domino trading her life for somebody else's. The scene has absolutely no place in this jarring, violent movie; Waits is just another of Scott's distractions.
    • 47 Metascore
    • 50 Connie Ogle
    Antonio Banderas looks a little older, Catherine Zeta-Jones snares a bigger role, and the powerful charms of both are weighed down by an absurdly plot-heavy script.
    • 40 Metascore
    • 50 Connie Ogle
    Rapidly devolves into a pedestrian thriller in which almost nobody behaves in a recognizably human way.
    • 57 Metascore
    • 50 Connie Ogle
    Casanova doesn't seduce so much as lull the audience into a stupor with tedious blather about the battle of the sexes, intermittent but pointless swordplay and clumsy slapstick.
    • 49 Metascore
    • 50 Connie Ogle
    A tepid sort of romantic comedy, with lengthy stretches during which nothing much happens punctuated by bouts of paralyzing boredom or, on rare occasions, random but fleeting hilarity.
    • 76 Metascore
    • 50 Connie Ogle
    For most U.S. audiences, Sophie Scholl: The Final Days, an Academy Award nominee for best foreign language film, is going to feel more like a history lesson than a movie.
    • 56 Metascore
    • 50 Connie Ogle
    Shockingly, it's an understated but amusing Ferrell who keeps Winter Passing from growing unbearable.
    • 45 Metascore
    • 50 Connie Ogle
    The girls who adore the likable Everygirl Bynes will find a lot to enjoy about the film, especially the boys who look as though they just were lounging around the Abercrombie & Fitch catalog.
    • 37 Metascore
    • 50 Connie Ogle
    It's possible to achieve hilarity and pathos, but it's not easy, and Litvak isn't quite skilled enough to make the sex jokes rest easily beside the final grandiose and pat confessions. As a result, When Do We Eat? merely whets your appetite for a fresh take on family matters.
    • 58 Metascore
    • 50 Connie Ogle
    It's a disappointing chapter in what until now has been a highly entertaining, even thought-provoking series.
    • 45 Metascore
    • 50 Connie Ogle
    A sporadically funny, always predictable, weirdly downbeat fantasy.
    • 50 Metascore
    • 50 Connie Ogle
    Overall, the film's sheer mediocrity prevents Thurman from flying to its rescue.
    • 48 Metascore
    • 50 Connie Ogle
    Once in a great while, a film of insight and wisdom defines a generation. Step Up is not that film. Instead, it's the sort of mildly entertaining movie that comes along a couple of times a year.
    • 62 Metascore
    • 50 Connie Ogle
    Ends up as colorless as Reeves' first Superman suit.
    • 52 Metascore
    • 50 Connie Ogle
    Gridiron Gang is not imaginative, but neither is it painful to watch.
    • 52 Metascore
    • 50 Connie Ogle
    While the attentive art direction of Running With Scissors pays scrupulous and imaginative attention to period detail, the film overlooks its greatest asset: Burroughs.

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