Connie Ogle

The film's appeal is universal, not just female, and, best of all, it's based on a true story.

As for the Marigold Hotel, well, it's not the Delano. But overall it's a fine spot to spend a couple of hours.

Brosnan and Moore may not be substitutes for Tracy and Hepburn, but they're more than capable of making you smile for now.

Better than its trailers indicate. Forget the seemingly silly Chapstick moment: Any film that sends a cold shock to your system is doing something right.

Carlei’s film is not particularly imaginative in terms of context, but it offers proof that this material never tarnishes, that with the right sort of movie magic, even a traditional telling can be thrilling.

Vibrant and intriguing, a fine adaptation despite the slight departures from its source, with warm cinematography that captures the feel of '50s Saigon and two performances worthy of Oscar attention.

Despite its subject matter, Transamerica is a surprisingly funny movie, because Tucker never lets the pathos overwhelm his sense of humor.

A film that's funny and entertaining for kids and adults.

These Fitzgeralds are loud, selfish and often maddening, but they're a loving group, and you wouldn't mind spending more time with them.

Begin Again manages to be romantic and cynical about the music industry, which Carney touches on but never allows to take center stage.

The real hit of the movie is the hilarious Bateman. His low-key humor makes you wish Hancock could have saved Bateman's short-lived sitcom "Arrested Development." Now that would have been heroic.

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.

Kill Your Darlings is more coming-of-age story than murder mystery, but its characters are so well drawn and complex the emotional weight carries a suspense all its own.

Not about sex; it's about leaps of faith, at work, in love, in life.

So hilarious that even longtime Ferrell haters (me) can't resist it.

It digs deep into the heart and soul of its lovers, who are idealistic, intelligent and passionate - and yet still risk everything they might gain for stolen moments together.

Gamely depicts an interesting bit of history, but its real message is a matter of principle.

Vardalos made the Portokaloses so funny they'll make your own family seem tame.

If you need proof that the British are different from the rest of us, look no farther than the thought-provoking Separate Lies, a chilly, intelligent and absorbing drama about infidelity, ethics and forgiveness.

Impossible not to like.

The result is this infectious documentary, which combines some inspired musical performances with Chappelle's perpetually hilarious commentary.

Mostly silly and always frothy, as sugary at times as wedding-cake frosting but tempered with a welcome strain of sour grapes, mostly doled out by the peerless Judy Greer as Jane's cynical, slutty best friend.

This melding of comedic minds is one of the better holiday gifts we've received, cinematically speaking.

Mottola softens his approach, and Adventureland turns out to be more like "Nick and Nora's Infinite Playlist" than a Judd Apatow creation.

The film never allows any of its characters to fall into stereotype; they are complex creatures, full of anger and disappointment and passion, and even the weakest among them is not bereft of honor.

Due to its good humor and terrific story, Million Dollar Arm is always engaging; its power lies in its feel-good charm.

Favreau worked hard to replicate an authentic restaurant world, and it shows in every frame that involves chopping, dicing, slicing, sautéing or otherwise cooking (he also finds an ingenious way to visually portray Twitter, so vital in the marketing of food trucks).

The only real casualty of Lehane's novel is Angie, here reduced to a supporting player who bears no resemblance to the original character, who is every bit as smart and tough and interesting as her boyfriend. It's a regrettable loss in a film that otherwise indicates its first-time director knows what he's doing.

Funny even when it relies heavily on age-old, old-age gags.

A sentimental romantic thriller. But it’s a well-made sentimental romantic thriller, and that makes all the difference.

It's a small, heartening slice of life that feels like a crucial step toward something bigger.

This Pride & Prejudice isn't minutely faithful to the book -- and for good reason -- but it is authentic where it counts: to the confused, wounded, eager hearts of its lovers.

It is always intriguing as it follows the arrest and captivity of Salomon Sorowitsch (the terrific Karl Markovics), one of Germany's leading counterfeiters.

This crowd-pleaser is a genuinely inspirational film, gorgeously filmed and wonderfully acted, echoing an uplifting sentiment that bears repeating: ''You don't throw a whole life away just because it's banged up a little.''

Fast and funny, and grown-ups will not suffer sitting through it.

Riveting.

A one-joke movie, but it’s a pretty good joke, and the fact that it’s based on a true story only makes the gag more delicious.

Well-acted and sincere, Testament of Youth is chastely romantic in its treatment of the relationship between Vera and Roland, but the film doesn’t hold back on showing the horror of trench warfare.

When it comes to exploring our peculiar blindness as to what's important in our lives, the film is a disturbing but accurate road map.

Timing is key in a comedy like this, and Sonnenfeld keeps everyone and everything clicking. The pacing is swift and the laughs are steady.

Makes a compelling argument for women's rights without ever succumbing to preachiness.

Its overall ability to balance humor and drama, attention to emotional detail and a few winning performances outweighs its maudlin tendencies.

Dry humor keeps In Bruges fresh and lively and makes it a whole lot of fun to watch.

Sometimes the film feels as if it's trying too hard to include every possible horror a teenager could sample.

Amusingly raunchy.

Serenity shows what might have happened if Han Solo had been the focus of the original "Star Wars" instead of whiny Jedi wannabe Luke Skywalker.

This film, directed by Curb Your Enthusiasm's Robert Weide, makes an entertaining companion piece to his book.

Carney gets everything right here: Sing Street hums with authenticity.

Driver's over-the-top Jewish Canadian Princess performance is so stereotypical it's downright embarrassing in a film that otherwise treats its imperfect characters with respect even when they're at their worst.

What makes The Woodsman meaningful is Bacon's tortured suffering.

You don't have to love dogs to enjoy Darling Companion, but it couldn't hurt.

Gervais' wickedly sly concept lingers quite awhile after the final chuckle. And that's the truth.

Smart, entertaining update.

Talk to Me is a welcome reminder of a time when radio truly listened to the people instead of just shouted at them.

Downey gives a nervy, riveting performance in The Soloist.

Filmed around stunning County Sligo on Ireland’s west coast, Calvary is a thoughtful, atmospheric movie despite the awkward parade of suspects and the fact that everyone seems a little too conveniently hostile.

It's almost impossible not to respond emotionally to this fascinating, sobering and all-too-brief exploration of the politicized religious right and its hopes, dreams and power.

This engaging documentary is briskly funny.

It's all about making everybody happy. If that's not grounds for a good relationship, then I don't know what is.

Dogme films don't have to be bleak to be effective. They can be -- imagine! -- fun. Scherfig may have taken the discipline in an entirely new and welcome direction.

It's terrifically funny and, for a few brief moments, poignant.

Watchmen is a spectacularly violent movie.

Scafaria — who wrote and directed "Seeking a Friend for the End of the World" and co-wrote "Nick and Norah’s Infinite Playlist" — elevates the material with a terrific eye for detail, an understanding of the complexities of mother-daughter relationships and a generous sense of humor.

Me Before You is a sugar-coated romantic bauble, not a gritty documentary. Giving into its pleasures is not for everyone, but its message — live boldly, as the movie’s hashtag encourages — is an admonition that’s awfully hard to argue.

Documentary gold, and you will have formed an opinion on the controversy by the time you leave the theater. You may not know art, but you'll know what you like.

There is magic here, enough to make Whale Rider worthy of the audience-choice awards it has earned at film festivals worldwide.

Fortunately, Bardem, who earned an Oscar nomination for his role in Julian Schnabel's "Before Night Falls," makes up for the script's shortcomings.

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.

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.

View it as a fat-free but tasty cinematic treat in the middle of the long, hot summer.

The To Do List is a funny movie, but only if you’re not easily offended.

The film is also less bloated than "Bridesmaids" - a comedy is always more nimble at 90 minutes than two hours - and it's less maudlin, too. It's the aberrant, foul-mouthed child of "Superbad" and "Young Adult."

Even the people who griped about Tom Cruise being cast as the towering Jack Reacher will have to admit Statham fits nicely in Parker's shoes.

Contagion may be the most expensive public-service ad ever filmed, but it's also a surprisingly light-on-its-feet action thriller.

Higher Ground is ultimately a proponent of the human spirit, of the individuality and honesty that must be claimed, even at a high price. That's a lot of substance to stuff into one little movie, but Farmiga makes it fit astonishingly well.

Get Smart turns out to be a much more entertaining movie than its tedious trailers suggest. It's not going to redefine comedy as we know it, but it's amusing and briskly paced, busy with an engaging mix of supporting actors.

Smith is an endearing, driving comedic force, one who makes the buoyant Hitch more enjoyable than it has any reason to be.

At its core, Susanne Bier's wrenching portrayal of the shifting dynamics within a Danish family is really about survival, about how we cope in the face of shattering grief and what we'll do -- anything, really -- to save ourselves.

Though there's nothing revolutionary about 17 Again, the movie is undeniably enjoyable.

It aims -- successfully -- to make you think and feel.

This mostly upbeat crowd-pleaser soothes the audience with glistening harmonies and familiar songs and doesn’t always handle the ugly past simmering just below its surface gracefully.

Sweet, amusing little film.

Still, though it's crude and juvenile in ways that makes you vaguely ashamed at laughing so much, The Campaign is versatile enough to sneak in a good shot or two at the American political system.

A breath of fresh air in this musty spring movie season.

Bradshaw, who is funnier than you might suspect, also turns out to be the most fearless of performers.

Despite the film's sloppy structure, it feels weirdly good to hang out with these losers again.

The Lady in the Van doesn’t give in to platitudes. It’s unnervingly honest about its subject.

The movie is slightly more sappy, and the characters are necessarily less fleshed out than they are in Audrey Niffenegger's dazzling novel, but neither shortcoming detracts from the film's appeal.

Descended from a long and healthy line of high school-sports and academic-achievement films, a hip-hop "Hoosiers" bolstered by a generous helping of "Stand and Deliver" and "Lean On Me."

It's not always an easy movie to watch, but its characters are unforgettable.

Best of all, the film never makes its characters into stoic or tragic heroes, choosing instead to highlight what makes them human — their hopes, their fears, their anger, the way they learn to live with knowing they’re going to die.

Predictable but amusing. The painfully awkward, stubby Gervais as romantic lead is a funny enough concept, but the actor's ongoing banter with Kinnear is engaging, and their styles mesh entertainingly.

It's a good, solid family film.

Despite the fact that the film is not graphic, you won't want to watch Darfur Now over dinner with your family. But you probably should anyway.

The real genius, if that is what it is, behind Sacha Baron Cohen's crude, shocking and explosively funny Brüno is the fact that the filmmakers actually found enough gullible human targets.

Pirate Radio does what it sets out to do. It rocks.

Wonderfully energetic.

August: Osage County is easier to watch on screen, and maybe for that we should be grateful.