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 Iris
Lowest review score: 0 The Man
Score distribution:
706 movie reviews
    • 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.
    • 27 Metascore
    • 50 Connie Ogle
    Frothy as it is, SATC2 is best when it's about the women, not the wardrobe.
    • 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.
    • 82 Metascore
    • 50 Connie Ogle
    Late Marriage's stiffness is unlikely to demonstrate the emotional clout to sweep U.S. viewers off their feet.
    • 42 Metascore
    • 50 Connie Ogle
    Next begins to seriously embarrass itself and its stars -- except for Biel, surprisingly, who manages to escape with a shred of dignity, possibly because her role requires little beyond looking gorgeous -- once it rolls to its climax.
    • 68 Metascore
    • 50 Connie Ogle
    If you're making a movie that purports to be about real love, at the very least, you have to make the audience care whether the lovers work out their problems.
    • 57 Metascore
    • 50 Connie Ogle
    Smart People tastes as fake as a Wal-Mart corn dog. Besides, it doesn't even know the work is Faerie Queen, not ''Fairie.'' Somewhere, Edmund Spenser is turning in his grave. You don't even have to be smart to know that.
    • 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.
    • 49 Metascore
    • 50 Connie Ogle
    If nothing else, Broken City manages to pull off a difficult feat: It's too convoluted to follow and simultaneously too simplistic to be believed.
    • 48 Metascore
    • 50 Connie Ogle
    Sobieski manages to make Jennifer's inevitable transformation more than a little bittersweet. Apparently even clichés click sometimes.
    • 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.
    • 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.
    • 56 Metascore
    • 50 Connie Ogle
    The film improves once the assassination attempt goes awry, but the audience is never truly invested in the actions of these heroic men.
    • 34 Metascore
    • 50 Connie Ogle
    On the Line's cutesy premise is no more ridiculous than that of most romantic comedies.
    • 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.
    • 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.
    • 47 Metascore
    • 50 Connie Ogle
    Everyone, including the candidates, will recognize the importance of civic duty, leaving Swing Vote to end with swelling music and uplifting speechifying but on a completely unsatisfactory note.
    • 51 Metascore
    • 50 Connie Ogle
    You might call My Sister's Keeper manipulative, and you would not be inaccurate.
    • 47 Metascore
    • 50 Connie Ogle
    The fact that you won't remember any of these names for more than a minute should indicate exactly how much depth each character displays.
    • 62 Metascore
    • 50 Connie Ogle
    Neurotic New Yorkers, messed up relationships, inept analysts, infidelity -- Ira & Abby has them all, and it's anything but refreshing to trudge through this well-worn territory again.
    • 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.
    • 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?
    • 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
    • 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.
    • 43 Metascore
    • 50 Connie Ogle
    The good news is, The Vow is not excruciating.
    • 33 Metascore
    • 50 Connie Ogle
    The film moves jerkily, in fits and starts, squandering its promising setup and bogging down in explanation.
    • 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?
    • 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.
    • 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.

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