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83It's the chemistry between Vardalos and Collette that gives the film its magical dazzle. Despite Vardalos' ingratiating, big and breathy presence, Collette, as the pulse and conscience of these two dreamers, very nearly steals the film.
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80The result is pure, unabashed and unpretentious entertainment of a sort once a staple of the movies but now rare.
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75The movie's queer delight is contagious. You'll exit lip-synching.
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67The surprise -- and intermittent delight -- of Connie and Carla is the way that it taps into the everybody-is-a-star passion of the new sing-along culture.
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Vardalos and Collette have mighty pipes, but it's Collette who moves with the confidence and flair of a musical theater veteran. Watching this film, I found myself caring less and less about the fairly predictable and safe story and waiting impatiently for the next number.
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63Vardalos may not have been the best possible Connie. But as Billy Wilder could have told you, nobody's perfect.
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63The chief appeal of this affectionate story is its embrace of those who are not thinner, richer and more glamorous than the moviegoers.
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63Connie and Carla is a good-hearted comedy that missteps by trying to become a moralistic one.
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60Full of high spirits and good vibes.
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50Nia Vardalos carved herself a niche with "My Big Fat Greek Wedding" in 2002, and she's still furiously digging away at it with the screechy, unpleasant comedy Connie and Carla.
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50The cheerfully inane comedy Connie and Carla all but suffocates beneath a high-stepping, show-stopping, ear-splitting deluge of musical theater staples, from "Cats" to "Oklahoma!," "Jesus Christ Superstar" to "Fiddler on the Roof."
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50A clever idea, but it's not quite pulled off.
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50Vardalos has a talent, and there is one sequence in the movie that works. In the romantic subplot, Connie falls for Peaches' brother Jeff (David Duchovny, as Vardalos's sleepy, hunk replacement for John Corbett in Greek Wedding).
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50Though positioned as a female buddy comedy, this uneven and overly busy comedy is more focused on the romantic travails of Vardalos and Duchovny, who's very nearly a carbon copy of her love interest in "My Big Fat Greek Wedding."
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May be fairly funny, sort of sweet and slightly muddled, but one thing about it is utterly certain: It loves, loves, loves some bad cabaret.
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50Isn't really a movie but a blatant girls' night out vehicle.
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50There are funny moments -- a cameo from Debbie Reynolds, an Evita sing-along -- but the film grows progressively more dispirited.
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50Broad and cheesy, yet it is not utterly without a kind of junk-food appeal.
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40Veteran TV director Michael Lembeck slides the movie into a sitcom mode that only further deadens the thin material. While Vardalos and Collette shine in the musical numbers, why didn't he bother to give the musical sequences a bit of pizzazz?
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40This is so derivative it has no soul of its own.
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40Although the transvestites’ plight – mishandled, misunderstood, and/or misappropriated – is meant to supply Connie and Carla's emotional core, one never gets the feeling of anything stronger than an at-shoulder-length's sympathy from this film.
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40Seems as much an imposter in the drag-queen world as its heroines; it fronts the sort of safely asexual gay characters found on network TV.
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40As a female vocal duo, their performances are passable, if a little dull and lacking in any sense of camp exaggeration.
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40It takes chutzpah to borrow from comedy maestros Billy Wilder and Blake Edwards, and Nia Vardalos would seem an unlikely candidate to get away with it unpunished.
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38Plays like a genial amateur theatrical, the kind of production where you'd like it more if you were friends with the cast. The plot is creaky, the jokes are laborious, and total implausibility is not considered the slightest problem.
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38Vardalos' comedic style is old-fashioned in the worst way; her humor is stodgier than the most retro Catskills laughmeister.
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38Where "Wedding" introduced us to a Greek family most of us had never seen before, "Connie" plays out like a clumsy episode of "Laverne and Shirley:" familiar, phony and forgettable.
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The humor is rigorously unoriginal and it all feels a bit like minstrelsy, a freakish, ritualistic nod to things your grandfather might have found funny.
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20Connie and Carla doesn't just do violence to the memory of Wilder's brilliant sex farce (Some Like It Hot); it's so clumsy, it might give cross-dressing itself a bad name.
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One suspects Vardalos's movies aren't written as much as up-chucked, the result of all-night binges on SnackWells and Oxygen network reruns.
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