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 The Man
Score distribution:
706 movie reviews
    • 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.
    • 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.
    • 38 Metascore
    • 50 Connie Ogle
    It's not only the mythical, mind-reading creature at the story's center that prevents the film from taking flight. A worn-out plot and a novice actor also contribute to the disappointment.
    • 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.
    • 27 Metascore
    • 50 Connie Ogle
    Wild Hogs is a paint-by-numbers comedy, borrowing most of its broad strokes from sitcoms, and not clever ones like "The Office" and 3"0 Rock," either.
    • 49 Metascore
    • 50 Connie Ogle
    It's unimaginative, crude and so derivative it hurts.
    • 29 Metascore
    • 50 Connie Ogle
    Premonition is actually more daring than you might expect. Not bold enough to be memorable, maybe, but just enough to keep you from falling asleep in front of the TV.
    • 49 Metascore
    • 50 Connie Ogle
    If you're not a rabid fan of Texas hold 'em -- the poker phenomenon that swept the country a couple of years ago but is hardly cutting edge now -- you might want to step quickly away from Lucky You.
    • 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.
    • 52 Metascore
    • 50 Connie Ogle
    Guggenheim managed to turn a Power Point presentation into a crowd-pleasing Academy Award winner, but he can't do much to free Gracie from its constraints and clichés.
    • 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.
    • 63 Metascore
    • 50 Connie Ogle
    Feels more like a lecture you've already heard than a galvanizing call to action.
    • 38 Metascore
    • 50 Connie Ogle
    The few jokes it does land can't make this more than a look-what's-on-late-night-cable event.
    • 49 Metascore
    • 50 Connie Ogle
    Despite all the flying bullets, which are admittedly entertaining at times, Shoot 'Em Up doesn't offer enough bang for your bucks.
    • 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.
    • 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.
    • 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.
    • 42 Metascore
    • 50 Connie Ogle
    Feels every bit as cheap and flimsy as Edward's hospital.
    • 65 Metascore
    • 50 Connie Ogle
    The Great Debaters keeps things on the surface and pushes the obvious buttons, hoping you won't notice its distinct lack of depth.
    • 29 Metascore
    • 50 Connie Ogle
    Fool's Gold isn't so much a film as an opportunity to pay homage to Matthew McConaughey's impressive physique.
    • 50 Metascore
    • 50 Connie Ogle
    Think "Cruel Intentions" in period costume, or better yet, Sofia Coppola's "Marie Antoinette," which managed to take its subject matter lightly and seriously at the same time.
    • 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.
    • 69 Metascore
    • 50 Connie Ogle
    What The Bank Job ends up stealing is all your precious time.
    • 48 Metascore
    • 50 Connie Ogle
    21
    Except for Spacey's talent, elements don't add up.
    • 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.
    • 55 Metascore
    • 50 Connie Ogle
    Just amusing enough to provoke a few chuckles and just short enough to keep you from glancing at your watch.
    • 36 Metascore
    • 50 Connie Ogle
    The overwhelming sensation of deja vu is exhausting and disorienting. You really HAVE seen it all before.
    • 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.
    • 64 Metascore
    • 50 Connie Ogle
    The film hardly aims to be serious entertainment, and, to its credit, it's never uninteresting visually.
    • 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.
    • 45 Metascore
    • 50 Connie Ogle
    For all its pretension and artiness, Blindness is more like M. Night Shyamalan's "The Happening" (which at least had the decency to be fast-paced and short), right down to its upbeat and inane conclusion.
    • 28 Metascore
    • 50 Connie Ogle
    Nobel Son is not good. Nor is it bad. It exists, instead, somewhere in the middle ground of interesting enough to hold one's attention without actually providing any fresh, sensible or nonderivative developments.
    • 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.
    • 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.
    • 54 Metascore
    • 50 Connie Ogle
    Observe and Report conveys an essential truth about Rogen: Like every other actor on the planet, he needs good material to do good work.
    • 50 Metascore
    • 50 Connie Ogle
    It's pretty much a waste of everyone's time, especially yours.
    • 51 Metascore
    • 50 Connie Ogle
    You might call My Sister's Keeper manipulative, and you would not be inaccurate.
    • 58 Metascore
    • 50 Connie Ogle
    Anything but light on its feet. It lumbers instead of dazzles, drags where it should feint and jab.
    • 63 Metascore
    • 50 Connie Ogle
    Chéri never fulfills its emotional promise.
    • 33 Metascore
    • 50 Connie Ogle
    An incredibly lazy movie -- but not an unbearable one, thanks to Aaron Eckhart's charm.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Connie Ogle
    The only positive thing about the aimless film The Yellow Handkerchief is the idea that William Hurt may be ready for his Jeff Bridges moment.
    • 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.
    • 27 Metascore
    • 50 Connie Ogle
    Frothy as it is, SATC2 is best when it's about the women, not the wardrobe.
    • 30 Metascore
    • 50 Connie Ogle
    The guys are more amusing than not, and they display the easy chemistry of real-life pals.
    • 51 Metascore
    • 50 Connie Ogle
    Little happens that you don't see coming, down to which cast members will get picked off and in what order. It's a dumb action movie in a summer full of dumb movies, and yet it's always entertaining. And you won't really miss Arnold at all.
    • 53 Metascore
    • 50 Connie Ogle
    Only two characters are worth much notice; neither is a prince, and one is a really big mouse, which tells you something sad about Narnia's royal family.
    • 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.
    • 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.
    • 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.
    • 26 Metascore
    • 50 Connie Ogle
    Amusing at times but never more than a modest diversion, lacking the cleverness and imagination required to turn it into more than a one-joke movie.
    • 50 Metascore
    • 50 Connie Ogle
    The cast is impressive, and the story even soapier than "The Tudors," if you like that sort of thing.
    • 72 Metascore
    • 50 Connie Ogle
    As it spins along at a reasonably good clip - no one is going to mistake it for the slicker, more action-packed "Salt" - The Double unravels its secrets, which prove to be its undoing.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Connie Ogle
    Something of an overlong, overblown, disorganized mess, despite being slightly better than its predecessor.
    • 44 Metascore
    • 50 Connie Ogle
    Joyful Noise is too tone-deaf to put its few blessings to good use.
    • 43 Metascore
    • 50 Connie Ogle
    The good news is, The Vow is not excruciating.
    • 70 Metascore
    • 50 Connie Ogle
    One of the problems with Rampart is that we've seen guys like Dave in movies and on TV for years now. The bad cop psyche has been delved into pretty deeply on all fronts, most notably in FX's brilliant series "The Shield."
    • 37 Metascore
    • 50 Connie Ogle
    Only in the execution does Madonna stumble: Despite the undeniable romance of the historical material, she has made a movie more concerned with how things look than how they feel. Which should not surprise anyone.
    • 48 Metascore
    • 50 Connie Ogle
    Pearce gets into his groove swiftly, owns it and remains entertaining throughout. The rest of the movie, however, would work better as a video game.
    • 45 Metascore
    • 50 Connie Ogle
    Detention has a frenetic visual style that's fun and appealing in a lot of ways, but there are way too many elements fighting for attention.
    • 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.
    • 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.
    • 45 Metascore
    • 50 Connie Ogle
    The script is so pre-determined it seems generated by a computer program, not human beings.
    • 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"?
    • 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.
    • 61 Metascore
    • 50 Connie Ogle
    17 Girls is allegedly inspired by true events, but this diffident, dreamy film is so insubstantial it's hard to believe there's a speck of reality to be found in it.
    • 67 Metascore
    • 50 Connie Ogle
    Watching A Late Quartet feels more like sitting through a Classical Music 101 lecture than entertainment.
    • 40 Metascore
    • 50 Connie Ogle
    It's the cinematic equivalent of Bon Jovi's You Give Love a Bad Name: You know in your heart it's a crappy song, and every wince-inducing line is an affront to your intelligence, but hey, it's on the radio, so you turn up the volume and sing along anyway.
    • 54 Metascore
    • 50 Connie Ogle
    The idea of Arnold Schwarzenegger as a small town sheriff is ludicrous, but then that's the whole point of his new movie: It's dumb fun, emphasis on the dumb.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Connie Ogle
    A competent but utterly unnecessary retelling of the story.
    • 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.
    • 52 Metascore
    • 50 Connie Ogle
    This is getting old.
    • 38 Metascore
    • 50 Connie Ogle
    The movie does miraculously end up making good use of a couple of running jokes, and the cast soldiers on, though the laughs are meager. But mostly, Girl Most Likely is a case of good actors in serious need of worthwhile material.
    • 32 Metascore
    • 50 Connie Ogle
    Paranoia has a promising foundation — betrayal, danger and corporate espionage are solid building blocks of suspense. But the movie turns out to be more exasperating than exciting.
    • 42 Metascore
    • 50 Connie Ogle
    There are a few flashes of wit in the romantic comedy Austenland, but for the most part, the humor lands not with Dear Jane’s grace and style but with all the subtlety of a cholera outbreak.
    • 49 Metascore
    • 50 Connie Ogle
    Assange is a compelling figure that merited a better effort.
    • 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.
    • 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.
    • 52 Metascore
    • 50 Connie Ogle
    If you can get past the ludicrous fantasy — well, wait, that’s the problem. You can’t get past the ludicrous fantasy.
    • 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.
    • 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.
    • 38 Metascore
    • 50 Connie Ogle
    Not entirely unwatchable.
    • 59 Metascore
    • 50 Connie Ogle
    There was, however, another question the screenwriter should have asked: Why does the script focus on the wrong couple?
    • 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.
    • 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.
    • 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.
    • 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?
    • 60 Metascore
    • 50 Connie Ogle
    If Magic Mike XXL is bulging with anything, it’s inane conversation.
    • 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.
    • 33 Metascore
    • 50 Connie Ogle
    The film moves jerkily, in fits and starts, squandering its promising setup and bogging down in explanation.
    • 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.

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