For 705 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 2.6 points lower than other critics. (0-100 point scale)

Connie Ogle's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Brooklyn
Lowest review score: 0 The Brown Bunny
Score distribution:
705 movie reviews
    • 55 Metascore
    • 75 Connie Ogle
    Director/screenwriter Peter Landesman builds a solid dramatic story around this premise, and Smith delivers a terrific, award-worthy performance as Omalu, nailing his Nigerian accent, his intelligence, his determination to do what he knows is right.
    • 55 Metascore
    • 38 Connie Ogle
    This shameless cheerleader of a documentary is the sort of propaganda you might expect in a Republican campaign ad or perhaps featured at a small theater located somewhere in Fantasyland.
    • 55 Metascore
    • 63 Connie Ogle
    It's López de Ayala's show, and she's relentless in her energy and passion.
    • 55 Metascore
    • 75 Connie Ogle
    Friends With Kids cheerfully earns its R rating on language alone, but always in service of a good laugh.
    • 55 Metascore
    • 63 Connie Ogle
    Yes
    If nothing else, Yes is certainly a brave experiment.
    • 55 Metascore
    • 63 Connie Ogle
    Where the film goes wrong is in its attempts to cling too firmly to "Pride and Prejudice."
    • 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.
    • 55 Metascore
    • 63 Connie Ogle
    Eagle vs. Shark feels like a low-budget, foreign cousin to Napolean Dynamite, less polished and sly. But it's definitely in the same family, lulling us into friendly acceptance with its persuasively silly rhythm and deceptively big heart.
    • 55 Metascore
    • 88 Connie Ogle
    At the film's uplifting conclusion, when a stilled voice finally makes itself heard, you can unmistakably feel your heart lift, as if it had grown tiny wings. Camp reminds you that once you believed it would always soar, just like that.
    • 55 Metascore
    • 50 Connie Ogle
    The real Guerin deserves a more complete cinematic tribute.
    • 55 Metascore
    • 63 Connie Ogle
    Curtis pulls off some amusing moments, and he has a secret weapon: Nighy, who is so jolly and funny you wish he’d had more screen time.
    • 55 Metascore
    • 75 Connie Ogle
    A trifle bland, but with enough virtues to make it palatable to audiences who want comfort food, not a challenge, when they go to the movies.
    • 55 Metascore
    • 63 Connie Ogle
    The Pick of Destiny is fast and funny, and you can't beat the songs (especially the not exactly heartwrenching Dude I Totally Miss You).
    • 55 Metascore
    • 75 Connie Ogle
    The biggest surprise in the cheery, delightful Love Actually is its lively, edgy, slightly blue sense of humor.
    • 55 Metascore
    • 38 Connie Ogle
    If the Giorgios were more interesting, perhaps Brooklyn Lobster would feel less sluggish. But as it is, the crustaceans' unhappy destinies are more compelling than the colorless lives of their captors.
    • 55 Metascore
    • 75 Connie Ogle
    But Babys also resembles "Sunshine State" in another, more satisfying way: It leaves you longing to know what happens to these characters once the movie ends.
    • 55 Metascore
    • 75 Connie Ogle
    The characters drive this story, not ideology. Damon and McDormand are terrific as co-workers seeking the same goal, though they see their work from different points of view.
    • 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.
    • 55 Metascore
    • 63 Connie Ogle
    The mere idea of making a musical version of Pride and Prejudice set in modern-day India is delicious, though, and Chadha's lively imagination and good intentions almost make the concept work.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 63 Connie Ogle
    A measured, magnificently understated and intense performance by Academy Award nominee Terrence Howard (Hustle & Flow, Crash) as Ellis gives Pride its fire and heart.
    • 55 Metascore
    • 63 Connie Ogle
    Though it's entertaining when the tone is light, The Joneses can't quite keep up with this sort of complexity.
    • 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.
    • 54 Metascore
    • 25 Connie Ogle
    If you're going to be offensive, by all means be offensive. Be tasteless! Be "There's Something About Mary." But at least stick to your guns, and don't wuss out when it counts.
    • 54 Metascore
    • 63 Connie Ogle
    You don't need a Ouija board to suss out where all this is heading, but Is Anybody There? counteracts its deficiencies -- predictability, sentimentality -- with a healthy dose of dark humor.
    • 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.
    • 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.
    • 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.

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