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 7.2 points lower than other critics. (0-100 point scale)

Connie Ogle's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The King's Speech
Lowest review score: 0 Rollerball
Score distribution:
706 movie reviews
    • 62 Metascore
    • 63 Connie Ogle
    42
    And still 42 persists in entertaining you, even when you’re cringing, because the real story is so compelling.
    • 51 Metascore
    • 63 Connie Ogle
    If you can overlook that last little bit of sports fantasy, you just might like Just Wright.
    • 43 Metascore
    • 63 Connie Ogle
    It's really just a dance movie, interrupted sporadically for PG-13 romance, bad acting, ridiculous dialogue and earnest "let's put on a show to save our homes!" spirit.
    • 56 Metascore
    • 63 Connie Ogle
    Despite its slight and vaguely silly premise, Driving Lessons turns out to be sweet, never cloying, and amusing in an understated British way.
    • 57 Metascore
    • 63 Connie Ogle
    Fey is a good fit with the material, and her co-stars are all solid, including Billy Bob Thornton as a laconic general; Martin Freeman as a boozy, charming Scottish journalist; Alfred Molina as a local politician with a crush on Kim; and Christopher Abbott (Girls) as Kim’s fixer and translator (he tries to keep her out of trouble).
    • 42 Metascore
    • 63 Connie Ogle
    Snow Flower and the Secret Fan moves slowly, languidly; its art direction is often lovely, and despite their truncated screen time Lily and Snow Flower do make you care about their fates. But you would have cared more without all the distraction.
    • 72 Metascore
    • 63 Connie Ogle
    Easy A is unnecessarily hard on the religious kids. Unlike "Saved," it uses broad caricatures of gospel-singing fanatics to get laughs, and the bug-eyed, over-the-top performance by Bynes (who apparently really should have retired after making this film) doesn't help matters.
    • 52 Metascore
    • 63 Connie Ogle
    By the time it's over, Insidious is less scary than a mortgage payment.
    • 34 Metascore
    • 63 Connie Ogle
    A pleasant if unremarkable romantic comedy that plays out like a sitcom with great scenery.
    • 76 Metascore
    • 63 Connie Ogle
    Gerwig and Hawke are outstanding reasons to see this movie, but your patience — just like Maggie’s — will be tested before it’s over.
    • 68 Metascore
    • 63 Connie Ogle
    Essentially an old-fashioned movie, nothing fancy, nothing new, just some jokes and some action and a crowd-pleasing finale.
    • 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.
    • 53 Metascore
    • 63 Connie Ogle
    Has nothing new to say, but it has a lot of fun covering the same old territory.
    • 80 Metascore
    • 63 Connie Ogle
    Too slight to bear up under the weight of the final melodrama, and the film ends too abruptly, as if MacLachlan just ran out of things to write. Still, this visit to the old homestead is worthwhile, if only to meet its unflappable, charismatic women.
    • 35 Metascore
    • 63 Connie Ogle
    It's full of lively and crude sexual banter, discussions of hookups and sex and Joel McHale's bare butt. Oddly, all this makes the film funnier and more accessible than you might imagine.
    • 52 Metascore
    • 63 Connie Ogle
    Unlike "The Ring," Dark Water -- which features one of the mad, whispery ghost children who populate such films -- is never actually frightening.
    • 66 Metascore
    • 63 Connie Ogle
    The film's heart lies in what goes on at Calvin's shop, that haven from the cold, cruel world. Where else can you get philosophy, humor, friendship and a little off the top?
    • 41 Metascore
    • 63 Connie Ogle
    A briskly-paced, refreshing kick in this season of draggy, two-hour-plus movies. The film is smarter and funnier than its trailers indicate, and, as a bonus, there are no superheroes, pirates or Wilson brothers to be found.
    • 61 Metascore
    • 63 Connie Ogle
    A fatal lack of character development dooms Enduring Love as little more than a fleeting curiosity.
    • 69 Metascore
    • 63 Connie Ogle
    On the plus side, if you're flummoxed by the twisty plot or its occasional holes, you can always gaze contentedly at Clive Owen and be wholly entertained.
    • 50 Metascore
    • 63 Connie Ogle
    It's a pleasure to see acceptance portrayed so matter-of-factly. May never happen in our lifetimes, but Lesnick's vision of tolerance is a soothing thought, anyway.
    • 72 Metascore
    • 63 Connie Ogle
    Carries an undeniable follow-your-field-of-dreams appeal.
    • 72 Metascore
    • 63 Connie Ogle
    There's no doubt that Leigh gets inside his characters' lives. But that's often someplace we'd rather not be.
    • 48 Metascore
    • 63 Connie Ogle
    Likable, cheerfully off-color comedy.
    • 57 Metascore
    • 63 Connie Ogle
    Pine, who has been so good and so instrumental in J.J. Abrams’ Star Trek series as Captain Kirk, turns out to be a decent Ryan.
    • 53 Metascore
    • 63 Connie Ogle
    It's not quite layered or weighty enough to fill the aching hole left in our psyches by the end of "The Sopranos," and most of the developments are as obvious as sauce on spaghetti. Still, Brooklyn Rules is a decent, if derivative, movie.
    • 49 Metascore
    • 63 Connie Ogle
    Far more imaginative and intriguingly moody than other recent thrillers.
    • 46 Metascore
    • 63 Connie Ogle
    Instead of a tense, emotional and psychological thriller or a thoughtful exploration of grief and guilt, what we end up with is ... soap. Whether you choose to wash your hands of it is up to you.
    • 66 Metascore
    • 63 Connie Ogle
    She could come off preachy here but instead sounds blunt and honest. And that's more than enough.
    • 51 Metascore
    • 63 Connie Ogle
    Thoughtfully directed and co-written by Arie Posin, the film is not a ghost story, nor is it played for campy laughs, but its melodramatic subject matter flirts with Douglas Sirk territory — and sometimes just dives right into it.

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