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 3.9 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 Rollerball
Score distribution:
706 movie reviews
    • 75 Metascore
    • 63 Connie Ogle
    In the end, Roger Dodger doesn't really add up to much. Guys can be jerks when they're lonely, or even when they're not. It's not news. But Kidd's version of this truth shows he's a writer worth watching.
    • 63 Metascore
    • 63 Connie Ogle
    Doesn't feel quite so lengthy as its predecessor. And while it still falls short of becoming the classic fans so badly want it to be, the film is livelier and better overall than "The Sorcerer's Stone."
    • 49 Metascore
    • 63 Connie Ogle
    More than just another feel-good teacher movie.
    • 65 Metascore
    • 63 Connie Ogle
    The film is never more than an amalgamation of other movies.
    • 73 Metascore
    • 63 Connie Ogle
    The movie wanders off course in the final act, as if none of its three screenwriters could quite figure out how to end it.
    • 75 Metascore
    • 63 Connie Ogle
    In the end the film stacks up just this side of twee, as the sort of quirky fare that's passably entertaining without ever offering anything real or remarkable.
    • 34 Metascore
    • 63 Connie Ogle
    It's fun to watch the stocky, scowling Ice Cube and skinny, jittery Epps play off each other; they click on screen.
    • 64 Metascore
    • 63 Connie Ogle
    It still feels a little like a lesson you’re supposed to learn before you can enjoy anything truly satisfying.
    • 36 Metascore
    • 63 Connie Ogle
    Harmless, mildly enjoyable.
    • 57 Metascore
    • 63 Connie Ogle
    Unfinished Song is full of predictably poignant moments; you’d be lucky to survive the film dry-eyed.
    • 76 Metascore
    • 63 Connie Ogle
    A well-intentioned coming-of-age film anchored by two indelible performances but weakened by an overabundance of drama.
    • 45 Metascore
    • 63 Connie Ogle
    Plays out as little more than a diversion, one that does not truly break any new ground. But it's undeniably interesting and leaves plenty of room for a more thoughtful film about women and education.
    • 37 Metascore
    • 63 Connie Ogle
    In an ironic twist, Mira Nair's big-hearted yet by-the-numbers biopic of Amelia Earhart never -- unlike the famous aviatrix -- takes chances.
    • 50 Metascore
    • 63 Connie Ogle
    Letters to Juliet will never be mistaken for an epic romance -- too light, too silly, too mistake-prone -- but the ingredients of its tasty chick-flick stew are tried and true.
    • 58 Metascore
    • 63 Connie Ogle
    Despite its exciting moments, the film is too long.
    • 40 Metascore
    • 63 Connie Ogle
    Jackman's charisma breathes the fire into Wolverine, not the rather pedestrian script or the by-the-numbers action.
    • 63 Metascore
    • 63 Connie Ogle
    It's more amusing than not, but some scenes outlast the humor in them.
    • 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.
    • 55 Metascore
    • 63 Connie Ogle
    Yes
    If nothing else, Yes is certainly a brave experiment.
    • 56 Metascore
    • 63 Connie Ogle
    Unknown is never boring, and Collet-Serra mostly keeps up a lively pace, but he doesn't do the movie any favors with the flat, dull way he films the scene in which we finally learn what's going on.
    • 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.
    • 31 Metascore
    • 63 Connie Ogle
    Blended isn’t Sandler’s funniest movie or his best, but it is a big step up from the dregs he’s been churning out, a messy, shaggy dog of a comedy that you can’t help but like even as it sheds all over your house.
    • 59 Metascore
    • 63 Connie Ogle
    The bigger problem is that neither Jolie nor the script bothers to flesh Louis out as a fully formed person with faults and fears and regrets, which keeps the film from ever capturing you emotionally.
    • 56 Metascore
    • 63 Connie Ogle
    The Family Stone should have been a glittering holiday bauble along the lines of the irresistible Love Actually. Instead, Bezucha stuffs into our stockings what he thinks is good for us. It's not coal, but it's not entirely what we were hoping for, either.
    • 56 Metascore
    • 63 Connie Ogle
    The most interesting aspect of Danny Deckchair, though, may be that the film is based on the true story.
    • 43 Metascore
    • 63 Connie Ogle
    The film makes coupling look less like bliss and more like an exhausting series of skirmishes that can send one party scurrying into infidelity or out the door in search of something better.
    • 38 Metascore
    • 63 Connie Ogle
    The undeniable star is the diminutive comedian. He’s the glue that holds the movie together when it wanders into the weeds and starts believing it’s a serious meditation on relationships.
    • 76 Metascore
    • 63 Connie Ogle
    Me and You and Everyone We Know brings to mind the work of happily downbeat, bad-boy provocateur Todd Solondz (Happiness, Palindromes), but July is more kind to her oddballs, although she displays a disturbing aptitude for perversity that Solondz would applaud.
    • 47 Metascore
    • 63 Connie Ogle
    The film, which comes way too close to preaching, lurches away from the control of director Mark Waters (Mean Girls, Freaky Friday) and ends on a stretched-out note so sappy it makes "Must Love Dogs" look like "8 Mile."
    • 56 Metascore
    • 63 Connie Ogle
    Joy
    What the film truly reveals is something else entirely: how Jennifer Lawrence can elevate any material, any time, even middle-of-the-pack fare like this.

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