Connie Ogle

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Miami Herald
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 7.1 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:
  1. Positive: 395 out of 706
  2. Mixed: 191 out of 706
  3. Negative: 120 out of 706
706 movie reviews
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    • 47 Metascore
    • 50 Connie Ogle
    The Skeleton Key
    Neither scary nor thrilling, although it's reasonably entertaining despite an abundance of haunted-house clichés, the usual inexplicable scary-movie behavior and an almost-naked John Hurt.
    • 25 Metascore
    • 50 Connie Ogle
    License to Wed
    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
    • 63 Connie Ogle
    The Foot Fist Way
    It's more amusing than not, but some scenes outlast the humor in them.
    • 38 Metascore
    • 38 Connie Ogle
    The Mostly Unfabulous Social Life of Ethan Green
    Tiresome romantic comedy that reinforces every imaginable gay stereotype.
    • 55 Metascore
    • 63 Connie Ogle
    Yes
    If nothing else, Yes is certainly a brave experiment.
    • 48 Metascore
    • 50 Connie Ogle
    Divine Secrets of the Ya-Ya Sisterhood
    The film relies a bit too much on the humor of older women flipping each other off and mouthing obscenities, although it is hilarious to see the usually proper Smith frantically chopping up a roofie to slip into Sidda's drink.
    • 72 Metascore
    • 75 Connie Ogle
    The Woodsman
    What makes The Woodsman meaningful is Bacon's tortured suffering.
    • 54 Metascore
    • 50 Connie Ogle
    And Now... Ladies and Gentlemen...
    It's fitting. Valentin and Jane may be awakening from life's slumber, but mostly they're just putting us to sleep.
    • 51 Metascore
    • 50 Connie Ogle
    Feast of Love
    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.
    • 36 Metascore
    • 50 Connie Ogle
    Little Black Book
    Together (Hunter/Murphy) they're actually sort of fun to watch, and it's amusing to realize, not quite halfway through the film, that its most potent chemistry exists between them.
    • 58 Metascore
    • 75 Connie Ogle
    The Invention of Lying
    Gervais' wickedly sly concept lingers quite awhile after the final chuckle. And that's the truth.
    • 55 Metascore
    • 50 Connie Ogle
    Veronica Guerin
    The real Guerin deserves a more complete cinematic tribute.
    • 54 Metascore
    • 75 Connie Ogle
    Assault on Precinct 13
    Smart, entertaining update.
    • 56 Metascore
    • 63 Connie Ogle
    The Family Stone
    The Family Stone should have been a glittering holiday bauble along the lines of the irresistible Love Actually. Instead, Bezucha stuffs into our stockings what he thinks is good for us. It's not coal, but it's not entirely what we were hoping for, either.
    • 52 Metascore
    • 38 Connie Ogle
    The Independent
    Excruciatingly unamusing.
    • 58 Metascore
    • 50 Connie Ogle
    X-Men: The Last Stand
    It's a disappointing chapter in what until now has been a highly entertaining, even thought-provoking series.
    • 69 Metascore
    • 75 Connie Ogle
    Talk to Me
    Talk to Me is a welcome reminder of a time when radio truly listened to the people instead of just shouted at them.
    • 45 Metascore
    • 38 Connie Ogle
    Bobby Jones: Stroke of Genius
    Sluggish, uninspired drama.
    • 82 Metascore
    • 88 Connie Ogle
    The Namesake
    A rarity, a film that preserves the depth and integrity of its source while bringing the story to life in an indelible way.
    • 34 Metascore
    • 50 Connie Ogle
    The Fourth Kind
    While there are some genuinely creepy moments, it never truly ends up as more than an average "X-Files" episode.
    • 56 Metascore
    • 63 Connie Ogle
    Danny Deckchair
    The most interesting aspect of Danny Deckchair, though, may be that the film is based on the true story.
    • 34 Metascore
    • 25 Connie Ogle
    The Back-up Plan
    The Back-up Plan is about as much fun as 36 hours of labor, only you don't get to go home with a baby at the end. Instead, you leave with a throbbing headache and a lot of questions about why anybody still thinks Jennifer Lopez can anchor a movie.
    • 34 Metascore
    • 50 Connie Ogle
    The Haunted Mansion
    Won't surprise you, but it's more tolerable than the grating, garish, millinery-challenged Cat. Besides, a cadaverous Terence Stamp trumps a glossy Alec Baldwin as a bad guy any day.
    • 61 Metascore
    • 75 Connie Ogle
    The Soloist
    Downey gives a nervy, riveting performance in The Soloist.
    • 75 Metascore
    • 88 Connie Ogle
    An Inconvenient Truth
    Despite its scary warnings, the film ends on an upbeat note, unless of course you happen to be Hillary Clinton's campaign manager.
    • 36 Metascore
    • 50 Connie Ogle
    What Happens in Vegas
    The overwhelming sensation of deja vu is exhausting and disorienting. You really HAVE seen it all before.
    • 43 Metascore
    • 63 Connie Ogle
    Trust the Man
    The film makes coupling look less like bliss and more like an exhausting series of skirmishes that can send one party scurrying into infidelity or out the door in search of something better.
    • 64 Metascore
    • 50 Connie Ogle
    Bright Young Things
    Soon settles down into a drizzle of steady mediocrity, never living up to all the frenzy of those first few moments.
    • 48 Metascore
    • 50 Connie Ogle
    Step Up
    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.
    • 76 Metascore
    • 63 Connie Ogle
    Me and You and Everyone We Know
    Me and You and Everyone We Know brings to mind the work of happily downbeat, bad-boy provocateur Todd Solondz (Happiness, Palindromes), but July is more kind to her oddballs, although she displays a disturbing aptitude for perversity that Solondz would applaud.
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