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 3.4 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 Man
Score distribution:
706 movie reviews
    • 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.

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