Connie Ogle

Half-hearted satire of Hollywood and small-town life, and Bosworth is not particularly memorable in it.

A poignant film punctuated with clumsy moments and a resolution that occurs far too abruptly.

Don't forget the waves. They're the stars of this show, and Blue Crush smartly never lets you forget it.

Gripping family drama keeps Swimming Upstream from going under.

For a low-brow, psycho-on-the-loose-in-paradise thriller, A Perfect Getaway is surprisingly entertaining.

Maybe it's a measure of the numbing awfulness of romantic comedies in general lately, but Definitely, Maybe isn't nearly so bad as you might fear; it's actually fairly pleasant, a bit too off-color to be a family film but enjoyable just the same.

Provides the rare pleasure of a blossoming romance between two people older than Kate Hudson or Ryan Reynolds.

Even Greg’s tattooed and charismatic history teacher (Jon Bernthal) is more interesting than the self-absorbed kid we’re supposed to care about.

In the end The Overnight promises more than it can deliver: Some of the supposedly provocative material ends up being juvenile, and the movie ends just as the situation gets truly, weirdly interesting. It’s too tame a resolution to a film that suggested the capacity for more.

Huston, unfortunately, is never really believable as a man rediscovering lost principles; he feels out of place in this otherwise fine ensemble.

A nice set of drapes and a striking ballgown or two are not enough to provide this interesting love story any serious heft or insight.

It's easy to work up a good head of feminist steam over the misogyny and downright idiocy of a story that suggests that the tyranny of a righteous man can prevent an abused girl from making poor and whorish fashion choices. But it's hard to dismiss completely this atmospheric and persistently intriguing film.

The movie still manages to unearth laughs, some of them pretty big, especially once Shanté's program is under way.

What sets it slightly apart is a willingness to deal with a potentially tricky subject -- race -- in the context of light-hearted fluff.

Once you get past the intriguing fact that although Whip's job puts hundreds of lives into his hands on a daily basis yet he's cavalier about protecting them, the movie doesn't feel much different than any other exploration of addiction.

Though it's entertaining when the tone is light, The Joneses can't quite keep up with this sort of complexity.

Fails to offer a single moment you don't see coming but its cast is appealing, and it provides a welcome respite from young wizards, talking robots that turn into trucks and other staples of this long, hot, boy-focused summer.

The Iron Lady never delves deeply enough into the politics or the people, preferring instead to make us feel bad about the unfortunate way in which old age levels us all.

Not a bad movie - everybody wants dreams to come true - but its platitudes sound awfully hollow sometimes.

Steeped in pitch-perfect nostalgia and propelled by equal doses of comedy and tragedy.

Focus is a shiny, stylish shell game of a film that, much like its protagonists, relies on breezy chatter, a good sense of humor and a lot of misdirection to succeed.

Shares an important slice of German history that is largely unknown.

The Safety of Objects doesn't carry the power of Ang Lee's "The Ice Storm," a similarly themed work about WASPS in crisis. Objects is too artificial, clunky with too many preposterous situations.

The humor tends to be broad, but the spritely pace doesn't allow for too much lingering on the jokes that don't land (really, we've seen enough morning sickness bits to make us gag).

Call it a victory for sincerity and style: Despite its familiarity, Blonde 2 doesn't make you want to pull out your hair by its (touched-up) roots.

Goes too far in its slapstick efforts to please mainstream audiences, but there's no denying the genuine appeal of -- and I can't believe I'm actually writing this -- Richard Gere and ballroom dancing.

Evan Almighty may not be enough to make you shout ''Hallelujah,'' but it's not the cinematic equivalent of a plague, either.

Green Zone is just an excuse for director Paul Greengrass to haul out his jittery hand-held camera as Miller and Co. sprint through the streets and buildings of Baghdad in pursuit of one villain or another.