For 670 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 1.9 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 Hottie & the Nottie
Score distribution:
670 movie reviews
    • 60 Metascore
    • 75 Connie Ogle
    Hearing Wilde's pithy lines in her mouth -- ''London society is full of women of the very highest birth who have, of their own free choice, remained 35 for years'' -- is worth the ticket price. In the end it's Dench who reminds us of the importance of enjoying Oscar Wilde.
    • 60 Metascore
    • 50 Connie Ogle
    What's missing most in the film, though, is a palpable sense of tension.
    • 60 Metascore
    • 75 Connie Ogle
    Made with an unerring visual dazzle -- its dark corners are shadowy, deep and melancholy, its brilliant seascapes the sparkling embodiment of why we must all find a reason to carry on.
    • 60 Metascore
    • 75 Connie Ogle
    Its sumptuous, stately pace will wither the patience of countless moviegoers, but the impressively acted and gorgeously exotic The White Countess improves the longer you mull its complexities.
    • 60 Metascore
    • 75 Connie Ogle
    Love Is All You Need works despite its occasional preposterous developments.
    • 60 Metascore
    • 63 Connie Ogle
    A better primer-for-the-uninitiated than an in-depth, fresh and insightful examination of a famous and remarkable life.
    • 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.
    • 60 Metascore
    • 50 Connie Ogle
    Entertaining in spite of itself.
    • 60 Metascore
    • 75 Connie Ogle
    The film's appeal is universal, not just female, and, best of all, it's based on a true story.
    • 59 Metascore
    • 75 Connie Ogle
    We may not understand her, this strange, solitary woman, but we know in our bones her desire for a place in the world.
    • 59 Metascore
    • 25 Connie Ogle
    You don't believe Celeste for a minute when she tells a new guy that she needs to be alone for awhile. You know he's coming back in short order to provide the happy ending. Here's hoping she doesn't want him to get a job, too.
    • 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.
    • 59 Metascore
    • 63 Connie Ogle
    Zombie lore doesn't allow for redemption, only head shots, and Levine's film, amusing though it may be, is never gory enough to truly become a classic zombie movie. It also ignores the one basic necessity of monster films, even the funny ones: It really ought to be creepy or scary or gross, at least once or twice.
    • 59 Metascore
    • 75 Connie Ogle
    There's nothing offensive about Barbershop 2, and maybe there should be. But even if the film plays it safe, it remains a cut above other mainstream comedies.
    • 59 Metascore
    • 63 Connie Ogle
    Maybe it's a measure of the numbing awfulness of romantic comedies in general lately, but Definitely, Maybe isn't nearly so bad as you might fear; it's actually fairly pleasant, a bit too off-color to be a family film but enjoyable just the same.
    • 59 Metascore
    • 50 Connie Ogle
    There was, however, another question the screenwriter should have asked: Why does the script focus on the wrong couple?
    • 59 Metascore
    • 75 Connie Ogle
    Mom (Elisabeth Shue) suffers from the fatal movie ailment of being so underwritten she's practically see-through.
    • 59 Metascore
    • 25 Connie Ogle
    Inherently laughable, but in all the wrong ways.
    • 59 Metascore
    • 38 Connie Ogle
    This is 40 is crude and dull, with a supporting cast that reminds you how utterly uninteresting the main characters are.
    • 59 Metascore
    • 63 Connie Ogle
    Wimbledon may have its faults, but it's the sort of upbeat fantasy that's tough to resist. Maybe love wins in tennis after all.
    • 58 Metascore
    • 63 Connie Ogle
    Not a bad movie - everybody wants dreams to come true - but its platitudes sound awfully hollow sometimes.
    • 58 Metascore
    • 75 Connie Ogle
    Smith is an endearing, driving comedic force, one who makes the buoyant Hitch more enjoyable than it has any reason to be.
    • 58 Metascore
    • 75 Connie Ogle
    August: Osage County is easier to watch on screen, and maybe for that we should be grateful.
    • 58 Metascore
    • 50 Connie Ogle
    It's a disappointing chapter in what until now has been a highly entertaining, even thought-provoking series.
    • 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?
    • 58 Metascore
    • 63 Connie Ogle
    Gripping family drama keeps Swimming Upstream from going under.
    • 58 Metascore
    • 75 Connie Ogle
    Pirate Radio does what it sets out to do. It rocks.
    • 58 Metascore
    • 63 Connie Ogle
    The Reader doesn't do enough to explore the guilt and betrayal the adult Michael feels over the acts of his elders.
    • 58 Metascore
    • 75 Connie Ogle
    Stoker is the sort of stylish, cerebral movie that engages your brain instead of your emotions, and yet you’re never less than intrigued by the breathtaking visual artistry of this slow-burn thriller.
    • 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.