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 Every Little Step
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
670 movie reviews
    • 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.

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