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 3.9 points lower than other critics. (0-100 point scale)

Connie Ogle's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The King's Speech
Lowest review score: 0 The Brown Bunny
Score distribution:
706 movie reviews
    • 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.
    • 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.
    • 52 Metascore
    • 50 Connie Ogle
    There’s potential here, a decent story and a cast well-stocked with grownup cinematic luminaries. But this supernatural Gothic romance is a prisoner of its own demons, which include sketchy Southern accents, tacky and tired stereotypes and faux homespun dialogue in the wrong mouths.
    • 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.
    • 63 Metascore
    • 50 Connie Ogle
    The film is weighted down by a dour sensibility at odds with the book's insouciant charm.
    • 81 Metascore
    • 50 Connie Ogle
    A well-acted, well-crafted but excruciatingly tepid romantic film about a subject that will attract poetry lovers and yet test even their considerable patience.
    • 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.
    • 37 Metascore
    • 50 Connie Ogle
    As a film, though, Gimme Shelter is unremarkable, a predictable story of redemption that happens awfully fast, to a girl who only seems to be in peril briefly — and has a rich dad to bail her out.
    • 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.
    • 14 Metascore
    • 50 Connie Ogle
    You should know right up front that even if you realize you're being manipulated you are probably going to weep anyway.
    • 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.
    • 25 Metascore
    • 50 Connie Ogle
    The fact that License to Wed isn't as unbearable as its trailers make it look doesn't mean it's good. It's not. It's just another mediocre addition -- worse than the best sitcoms, better than the worst.
    • 60 Metascore
    • 50 Connie Ogle
    If Magic Mike XXL is bulging with anything, it’s inane conversation.
    • 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.
    • 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
    Mostly due to luminous writing, Baxter's novel evoked a sense of magic, but this Feast, though never completely uninteresting, leaves you hungry for enchantment.
    • 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.
    • 55 Metascore
    • 50 Connie Ogle
    The real Guerin deserves a more complete cinematic tribute.
    • 44 Metascore
    • 50 Connie Ogle
    This movie couldn’t be more fantastical if dragons swooped down and incinerated London, Paris and the south of France.
    • 58 Metascore
    • 50 Connie Ogle
    It's a disappointing chapter in what until now has been a highly entertaining, even thought-provoking series.
    • 34 Metascore
    • 50 Connie Ogle
    While there are some genuinely creepy moments, it never truly ends up as more than an average "X-Files" episode.
    • 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.
    • 36 Metascore
    • 50 Connie Ogle
    The overwhelming sensation of deja vu is exhausting and disorienting. You really HAVE seen it all before.
    • 36 Metascore
    • 50 Connie Ogle
    Something Borrowed commits the most fatal mistake of all: Its characters are so deeply uninteresting that the audience can't get invested in their eventual happiness.
    • 59 Metascore
    • 50 Connie Ogle
    There was, however, another question the screenwriter should have asked: Why does the script focus on the wrong couple?
    • 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.
    • 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.
    • 51 Metascore
    • 50 Connie Ogle
    Assassination Tango offers little heat. In dancing with death, Duvall stumbles a few too many times.
    • 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.
    • 49 Metascore
    • 50 Connie Ogle
    Assange is a compelling figure that merited a better effort.
    • 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.
    • 36 Metascore
    • 50 Connie Ogle
    The body part joke to alien joke ratio seems slightly skewed in favor of the former, which makes the humor more than a little repetitive. How many different ways can one film say: "Men are idiots"?
    • 22 Metascore
    • 50 Connie Ogle
    New Year's Eve is not unbearable. It's not bad, but it's not good, either. It delivers exactly what you expect: pretty faces, shallow romance and a mythical fanaticism about an event in a friendly Manhattan unblemished by hyper-vigilant security measures, obnoxious drunks or New York Jets fans.
    • 33 Metascore
    • 50 Connie Ogle
    An incredibly lazy movie -- but not an unbearable one, thanks to Aaron Eckhart's charm.
    • 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.
    • 55 Metascore
    • 50 Connie Ogle
    Luhrmann’s The Great Gatsby is a failure that should have at least been a magnificent mistake, a risky endeavor that showed a daring intent even if its brash vision didn’t quite succeed. Instead, the movie leaves you cold and weary and vaguely disgusted.
    • 44 Metascore
    • 50 Connie Ogle
    Right now, this goofy film is the best candidate for mindless, enjoyable laughs.
    • 42 Metascore
    • 50 Connie Ogle
    The bigger problem with the film, which is genuinely unnerving at times, is what happens when the cavers are not in immediate peril, because they talk.
    • 48 Metascore
    • 50 Connie Ogle
    Something of an overlong, overblown, disorganized mess, despite being slightly better than its predecessor.
    • 46 Metascore
    • 50 Connie Ogle
    In the end Secret Window asks too much, demands allegiance when only incredulity can be mustered.
    • 58 Metascore
    • 50 Connie Ogle
    Anything but light on its feet. It lumbers instead of dazzles, drags where it should feint and jab.
    • 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.
    • 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.
    • 34 Metascore
    • 50 Connie Ogle
    Essentially a rip-off of "Apocalypto" for audience members too young or squeamish to endure graphic human sacrifice and jaguar face-eating.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 50 Connie Ogle
    The film seems more an excuse to attack a target than an exercise in solid storytelling.
    • 63 Metascore
    • 50 Connie Ogle
    Feels more like a lecture you've already heard than a galvanizing call to action.
    • 45 Metascore
    • 50 Connie Ogle
    Despite its title, Shekhar Kapur's new film resembles tarnished copper, its dull focus more appropriate for an episode of “One Tree Hill” than a biopic of one of Britain's greatest monarchs.
    • 41 Metascore
    • 50 Connie Ogle
    Ride Along sabotages itself, although I suppose that doesn’t really matter — there are already plans in the works for Ride Along 2.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 50 Connie Ogle
    Comes off curiously flat.
    • 66 Metascore
    • 50 Connie Ogle
    A slightly dull film by photographer Sam Jones.
    • 50 Metascore
    • 50 Connie Ogle
    Sets out to be a study of grief and how to overcome it, but it rings too false to offer much hope - or entertainment.
    • 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.
    • 41 Metascore
    • 50 Connie Ogle
    What to Expect has no standout character who's consistently funny, and it must operate within the confines of a "kids are the most important thing in our lives" mentality, which is more tiresome ground, comedically speaking.
    • 38 Metascore
    • 50 Connie Ogle
    Not entirely unwatchable.
    • 45 Metascore
    • 50 Connie Ogle
    A sporadically funny, always predictable, weirdly downbeat fantasy.
    • 64 Metascore
    • 50 Connie Ogle
    Freedom Writers is prone to throwing in unnecessary plot developments, so it never quite succeeds as anything more than "Dangerous Minds" Redux.
    • 38 Metascore
    • 50 Connie Ogle
    While patience is a virtue in a marriage, we shouldn't need quite this much to make it through a movie.
    • 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.
    • 69 Metascore
    • 50 Connie Ogle
    What The Bank Job ends up stealing is all your precious time.
    • 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.
    • 65 Metascore
    • 50 Connie Ogle
    The film isn’t overlong. But it tries to fit so many themes into its brief running time — that it merely touches on most conflicts instead of exploring them in depth or with any delicacy.
    • 58 Metascore
    • 50 Connie Ogle
    Unfortunately even a clogging Timberlake can't stop the movie's march to a conveniently happy ending. Nor can he block the flow of psychobabble. It's enough to make any fan beg: Play ball. Please.
    • 31 Metascore
    • 50 Connie Ogle
    Unfortunately there’s far too little magic in this clumsy attempt to marry fantasy and realism; the film doesn’t have the grace or imagination to bridge the gaps between the two.
    • 30 Metascore
    • 50 Connie Ogle
    The guys are more amusing than not, and they display the easy chemistry of real-life pals.
    • 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
    From the first strains of its overly dramatic, self-important score -- come on, this is not by any stretch of the imagination "Citizen Kane."
    • 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.
    • 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.
    • 44 Metascore
    • 50 Connie Ogle
    Joyful Noise is too tone-deaf to put its few blessings to good use.
    • 58 Metascore
    • 50 Connie Ogle
    The dance numbers grow tiresome after a while, and director/screenwriter Ramon Salazar throws in so many calculated oddities that it's impossible for anyone to become too attached to his characters.
    • 53 Metascore
    • 50 Connie Ogle
    Turns out to be a more disappointment than joyful reunion, a tedious and desperately drawn-out affair that tests your patience even as it brazenly courts (and often earns) your contempt.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 48 Metascore
    • 38 Connie Ogle
    What you don’t expect is camp. The Counselor is more "Wild Things" than "No Country for Old Men", with which it shares a border town setting. But at least "Wild Things" knew what it was. The Counselor treats its material seriously and seems to have no idea it’s a joke that can’t even muster up a bit of smarty-pants Tarantino cleverness or energy.
    • 35 Metascore
    • 38 Connie Ogle
    The best thing you can say about Scooby-Doo is that Matthew Lillard makes a really, really good Shaggy.
    • 25 Metascore
    • 38 Connie Ogle
    Filmmaker Christopher Cain has turned a national tragedy into a teen romance, and not in a grand, entertaining, "Titanic" way.
    • 55 Metascore
    • 38 Connie Ogle
    Maybe there's a good movie to be made about the affair between Franklin Delano Roosevelt and a distant cousin. I wouldn't bet on it, and Hyde Park on Hudson isn't it in any case.
    • 46 Metascore
    • 38 Connie Ogle
    What we are not spared is the sort of trite movie that lacks the backbone of any good dysfunctional-family comedy: a thread of the universal amid the absurdity.
    • 36 Metascore
    • 38 Connie Ogle
    A cliché-ridden, condescending and ham-handed film that clumsily fails to bring to life what should be an interesting story. You might say none of its punches even comes close to connecting.
    • 39 Metascore
    • 38 Connie Ogle
    Crudup is about as effective as anyone could be in the dreary World Traveler, but he can't keep this shallow, pretentious film from wallowing in banality and staggering self-indulgence.
    • 52 Metascore
    • 38 Connie Ogle
    The Lake House overflows with heart-stopping thrills, if by ''thrills'' you mean ''watching attractive people wait around for letters to be delivered by mystical forces.'' Which, come to think of it, makes this romantic melodrama sound a lot more interesting than it is.
    • 39 Metascore
    • 38 Connie Ogle
    In Percy Jackson: Sea of Monsters, choosing the dumbest character is a colossal task.
    • 45 Metascore
    • 38 Connie Ogle
    A romantic comedy so rote, dull and predictable that it makes "You've Got Mail" seem innovative and fresh.
    • 46 Metascore
    • 38 Connie Ogle
    A loud, dumb movie, but its male, car-obsessed audience will probably enjoy it anyway.
    • 36 Metascore
    • 38 Connie Ogle
    Viewing the new Martin Lawrence kiddie movie is more enjoyable than watching my dog eat a desiccated toad carcass he pried off the road, but only marginally so.

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