Elvis Mitchell
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For 387 reviews, this critic has graded:
  • 67% higher than the average critic
  • 2% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 9.3 points higher than other critics. (0-100 point scale)

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Titanic
Lowest review score: 0 Equilibrium
Score distribution:
  1. Negative: 16 out of 387
387 movie reviews
    • 60 Metascore
    • 100 Elvis Mitchell
    Mr. Howard has made Ransom in the same clean, swift, logical style that sent his "Apollo 13" into orbit, resulting in a spellbinding crime tale that delivers surprises right down to the wire.
    • 77 Metascore
    • 100 Elvis Mitchell
    You can know every glitch that made this such a dangerous mission, and Apollo 13 will still have you by the throat. [30 June 1995]
    • The New York Times
    • 87 Metascore
    • 100 Elvis Mitchell
    Shakespeare meets Sherlock, and makes for pure enchantment in the inspired conjecture behind Shakespeare in Love.
    • 78 Metascore
    • 100 Elvis Mitchell
    Gratifyingly complex and beautifully told, this tale explores a huge array of cultural, racial, economic and familial tensions. In the process, it also sustains strong characters, deep emotions and clear dramatic force.
    • 83 Metascore
    • 100 Elvis Mitchell
    A film whose best moments are so novel, so deliriously funny, and so crazily unexpected that they truly must be seen to be believed. [22 June 1988]
    • The New York Times
    • 74 Metascore
    • 100 Elvis Mitchell
    A huge, thrilling three-and-a-quarter-hour experience that unerringly lures viewers into the beauty and heartbreak of its lost world.
    • 85 Metascore
    • 100 Elvis Mitchell
    The film's sleek moodiness and visual sophistication are so effective that there's even a scene here that makes Detroit look like the most romantic city in the world.
    • 70 Metascore
    • 100 Elvis Mitchell
    This is his sleekest and most engaging film thus far. If you like a good cat-and-mouse game with a keen ear for language, then go.
    • 88 Metascore
    • 100 Elvis Mitchell
    A supremely elegant and thoughtful parable. [14 September 1994, p. C11]
    • The New York Times
    • 90 Metascore
    • 100 Elvis Mitchell
    Steven Spielberg's soberly magnificent new war film, the second such pinnacle in a career of magical versatility, has been made in the same spirit of urgent communication. It is the ultimate devastating letter home.
    • 79 Metascore
    • 100 Elvis Mitchell
    A blazing, unlikely triumph about a man who is nobody's idea of a movie hero. Smart, funny, shamelessly entertaining and perfectly serious too.
    • 87 Metascore
    • 100 Elvis Mitchell
    A stunning feat of literary adaptation as well as a purely cinematic triumph.
    • 94 Metascore
    • 100 Elvis Mitchell
    A triumphant, cleverly disorienting journey through a demimonde that springs entirely from Mr. Tarantino's ripe imagination, a landscape of danger, shock, hilarity, and vibrant local color. Nothing is predictable or familiar within this irresistably bizarre world. You don't merely enter a theater to see Pulp Fiction; you go down a rabbit hole. [23 Sept 1994]
    • The New York Times
    • 92 Metascore
    • 100 Elvis Mitchell
    A parent-tickling delight, is a work of incredible cleverness in the best two-tiered Disney tradition. [22 November 1995, p. C9]
    • The New York Times
    • 88 Metascore
    • 100 Elvis Mitchell
    Turns out to be a smashing success, a juggernaut of an action-adventure saga that owes noithing to the past. To put it simply, thi is a home run. [6 August 1993, p. C1]
    • The New York Times
    • 75 Metascore
    • 100 Elvis Mitchell
    As fascinating as it is freakish. It confirms Mr. Lynch's stature as an innovator, a superb technician, and someone best not encountered in a dak alley. [19 September 1986]
    • The New York Times
    • 85 Metascore
    • 100 Elvis Mitchell
    A devilishly entertaining crime story with a heroine who must be seen to be believed, is as satisfying an ensemble piece as “Red Rock West.” [26 October 1994, p. C13]
    • The New York Times
    • 86 Metascore
    • 100 Elvis Mitchell
    An irresistible black comedy and a wicked delight. [27 Sept 1995]
    • The New York Times
    • 93 Metascore
    • 100 Elvis Mitchell
    But the film Schindler's List, directed with fury and immediacy by a profoundly surprising Steven Spielberg, presents the subject as if discovering it anew. [15 Dec 1993]
    • The New York Times
    • 88 Metascore
    • 100 Elvis Mitchell
    It reimagines the buddy film with such freshness and vigor that the genre seems positively new.
    • The New York Times
    • 82 Metascore
    • 90 Elvis Mitchell
    Mr. Cage digs deep to find his character's inner demons while also capturing the riotous energy of his outward charm. [27 October 1995, p. C3]
    • The New York Times
    • 51 Metascore
    • 90 Elvis Mitchell
    Something special.
    • 62 Metascore
    • 90 Elvis Mitchell
    Mr. Bogosian's venomously funny play, which he adapted himself for the screen, is given warmth and generosity by Mr. Linklater, whose elegantly fluid direction and great skill with actors are accentuated by the play's spareness.
    • 71 Metascore
    • 90 Elvis Mitchell
    Smoothly directed and acted with glee... showing quick-witted comic spirit.
    • 77 Metascore
    • 90 Elvis Mitchell
    Jerry Maguire is loaded with them: bright, funny, tender encounters between characters who seem so winningly warm and real. [13 December 1996, p.C-1]
    • The New York Times
    • 73 Metascore
    • 90 Elvis Mitchell
    Wag the Dog, the poison-tipped political satire that's as scarily plausible as it is swift, hilarious and impossible to resist.
    • 59 Metascore
    • 90 Elvis Mitchell
    His sumptuous film is as strange and mesmerizing as it is imaginatively ghastly. It's a sophisticated, spookily intense rendering of Ms. Rice's story.
    • 67 Metascore
    • 90 Elvis Mitchell
    Ronin can be watched as appreciatively for its hard-boiled performances as for its visceral excitement.
    • 75 Metascore
    • 90 Elvis Mitchell
    Mr. Day-Lewis, looking wearily rugged and battling his way through several plausible boxing matches, once again breathes fire into the character of a high-minded loner, and his vitality lends real force to the film's moral arguments.
    • 72 Metascore
    • 90 Elvis Mitchell
    Elegant and deeply disquieting drama.
    • 54 Metascore
    • 90 Elvis Mitchell
    If the film doesn't add up to a cogent legal argument, neither does it have trouble delivering 2 hours and 20 minutes' worth of sturdy, highly charged drama.
    • 77 Metascore
    • 90 Elvis Mitchell
    Makes jaunty, imaginative use of both extraordinary technology and bold storytelling possibilities within the insect world.
    • 65 Metascore
    • 90 Elvis Mitchell
    Mr. Redford has found his own visually eloquent way to turn the potboiler into a panorama, with a deep-seated love for the Montana landscape against which his rapturously beautiful film unfolds.
    • 82 Metascore
    • 90 Elvis Mitchell
    Before we go numb from such prefab excitement, here comes a mega-movie that actually delivers what mega-movies promise: strong characters, smart plotting, breathless action and a gimmick that hasn't been seen before.
    • 67 Metascore
    • 90 Elvis Mitchell
    Concentrating on the fine-tuned trivia that fuels so much television comedy, it also creates two bright, appealing heroines and watches them face life's little insults with fresh, disarming humor.
    • 70 Metascore
    • 90 Elvis Mitchell
    Even when it turns turbulent, the film sustains its warm summer glow, and makes itself a conversation piece about the moral issues it means to raise.
    • 65 Metascore
    • 90 Elvis Mitchell
    Brilliantly reimagines the glam-rock 70's as a brave new world of electrifying theatricality and sexual possibility, to the point where identifying precise figures in this neo-psychedelic landscape is almost beside the point.
    • 81 Metascore
    • 90 Elvis Mitchell
    A nifty example of how to make something out of nothing. Nothing but imagination, and a game plan so enterprising it should elevate its creators to pinup status at film schools everywhere.
    • 73 Metascore
    • 90 Elvis Mitchell
    This modest, enormously likable film, about love and temptation and ties that bind, is about brotherhood most of all. [9 August 1995, p.C9]
    • The New York Times
    • 80 Metascore
    • 90 Elvis Mitchell
    Quietly courageous drama .
    • 64 Metascore
    • 90 Elvis Mitchell
    Everywhere the camera turns in this tense and volatile drama, it finds enough interest for a truckload of conventional Hollywood fare. Whatever its limitations, Cop Land has talent to burn.
    • 64 Metascore
    • 90 Elvis Mitchell
    A hilariously brazen comedy whose heroine is an improbable hoot.
    • 80 Metascore
    • 90 Elvis Mitchell
    There are times when The Shawshank Redemption comes dangerously close to sounding one of those "triumph of the spirit" notes. But most of it is eloquently restrained. [23 Sept 1994, p.C3]
    • The New York Times
    • 76 Metascore
    • 90 Elvis Mitchell
    Humorously and fondly, with an entertaining supply of what he has called "prosaic license," Stillman again displays a pitch-perfect ear for both the cattiness and the camaraderie that bind his characters into collective friendship.
    • 71 Metascore
    • 90 Elvis Mitchell
    Kirk Jones, who wrote and directed this blithe comedy, has been a prize-winning director of television commercials. And he has the knack of finding rubbery, expressive faces and letting each villager's quirks emerge on cue.
    • 61 Metascore
    • 90 Elvis Mitchell
    This poisonous, brazenly autobiographical comedy shows off the best of Mr. Allen's misanthropic humor.
    • 68 Metascore
    • 90 Elvis Mitchell
    It tells a finely nuanced tale of right, wrong and the gray area in between.
    • 70 Metascore
    • 90 Elvis Mitchell
    The script's bare bones are familiar, yet the film also has fine acting, steady momentum, a sharp eye and a very warm heart.
    • 86 Metascore
    • 90 Elvis Mitchell
    What makes the performance(s) even better is that Mr. Irons invests these bizarre, potentially freakish characters with so much intelligence and so much real feeling. [23 Sept 1988, p.C10]
    • The New York Times
    • 83 Metascore
    • 90 Elvis Mitchell
    With a fine vengeance along with flashes of great, unexpected tenderness, Mr. Solondz lethally evokes every petty humiliation that his seventh-grade heroine can't wait to forget.
    • 86 Metascore
    • 90 Elvis Mitchell
    It's too smart to be maudlin.
    • 81 Metascore
    • 90 Elvis Mitchell
    Mr. Russell's wonderfully mad odyssey of a movie, in which a man sets out to find his biological parents and winds up meeting more weirdos than Alice found down the rabbit hole.
    • 73 Metascore
    • 90 Elvis Mitchell
    The film's strength is that it sustains an intimate and realistic tone. Mr. Fishburne, who is called upon to deliver several lectures, manages to do so with enormous dignity and grace, and makes Furious a compelling role model, someone on whom the whole film easily pivots.
    • 77 Metascore
    • 90 Elvis Mitchell
    Beautiful and heartfelt, an oasis of humanity in a season of furious hyperbole.
    • 71 Metascore
    • 90 Elvis Mitchell
    Ingenious fantasy.
    • 81 Metascore
    • 90 Elvis Mitchell
    It has taken only two films, "Welcome to the Dollhouse" and now Happiness, for Todd Solondz to establish his as one of the most lacerating, funny and distinctive voices in American film.
    • 73 Metascore
    • 90 Elvis Mitchell
    His Breakdown is a tough, vigorous exercise in pure action, shot with throwback expertise and, most refreshingly, without special effects.
    • 86 Metascore
    • 90 Elvis Mitchell
    Stunning...a film much tougher and more transfixing than its wan title.
    • 81 Metascore
    • 90 Elvis Mitchell
    A rueful, warmly affecting film featuring a wonderful performance by Mr. Troisi, The Postman would be attention-getting even without the sadness that overshadows it. [14 June 1995, p. C15]
    • The New York Times
    • 79 Metascore
    • 90 Elvis Mitchell
    Morris has fashioned a brilliant work of pulp fiction around this crime. [26 Aug 1988, p.C6]
    • The New York Times
    • 64 Metascore
    • 90 Elvis Mitchell
    A handsome and fully imagined work of cautionary futuristic fiction.
    • 76 Metascore
    • 90 Elvis Mitchell
    A narrative path leading from the sincere to the ludicrous, and culminating in a final image of flabbergasting transcendance, gives Breaking the Waves its surprising power.
    • 82 Metascore
    • 90 Elvis Mitchell
    When you get the shivers watching this wintry tale unfold, it won't be from the cold.
    • 67 Metascore
    • 90 Elvis Mitchell
    This is a formula film, but it has the kind of good cheer and fine tuning that occasionally give slickness a good name.
    • 82 Metascore
    • 90 Elvis Mitchell
    The purity and breadth of this meticulous study are all the more gratifying in view of its unprepossessing style.
    • 72 Metascore
    • 90 Elvis Mitchell
    Drawing a parade of colorful performances from a constantly surprising cast, the curiously titled ''John Grisham's 'The Rainmaker' '' is Mr. Coppola's best and sharpest film in years.
    • 84 Metascore
    • 90 Elvis Mitchell
    Grandly entertaining...matches the Austen-based "Clueless" for sheer run. [13 Dec 1995]
    • The New York Times
    • 81 Metascore
    • 90 Elvis Mitchell
    Elegant, festive and very, very funny. [9 March 1994, p. C15]
    • The New York Times
    • 66 Metascore
    • 90 Elvis Mitchell
    As directed exquisitely by Gillian Armstrong in a headstrong spirit that recalls her debut feature, "My Brilliant Career," this elliptical tale makes up in visual beauty whatever it lacks in universal meaning.
    • 74 Metascore
    • 90 Elvis Mitchell
    Fierce and disturbing, with a plot that skillfully resists following any familiar course. The film's hero fears that he's half-crazy, and for two hours Mr. Gilliam artfully keeps his audience feeling the same way.
    • 85 Metascore
    • 90 Elvis Mitchell
    For all its exaggerated ordinariness, this film seems to start where others leave off.
    • 53 Metascore
    • 90 Elvis Mitchell
    Mr. Pitt moves through this unexpectedly solid thriller with dazzling confidence, showing off all the star power that he usually works overtime to hide.
    • 68 Metascore
    • 90 Elvis Mitchell
    Kubrick left one more brilliantly provocative tour de force as his epitaph.
    • 91 Metascore
    • 90 Elvis Mitchell
    Unfolds beautifully, with a rueful, knowing intelligence that rises above easy assumptions. [27 September 1996, p.C1]
    • The New York Times
    • 84 Metascore
    • 90 Elvis Mitchell
    Those unfamiliar with the book will simply appreciate a stirring, many-sided fable, one that is exceptionally well told.
    • 79 Metascore
    • 90 Elvis Mitchell
    It proves to be one of the more exotic blooms in the Disney hothouse, what with voluptuous flora, hordes of fauna, charming characters and excitingly kinetic animation that gracefully incorporates computer-generated motion.
    • 76 Metascore
    • 90 Elvis Mitchell
    Crackling good... the best crime movie in a long while.
    • 54 Metascore
    • 80 Elvis Mitchell
    Combine two stars of this wattage with a lot of techno-talk and elaborate heist plotting and you get plenty of good reasons to pay attention.
    • 57 Metascore
    • 80 Elvis Mitchell
    The film's mix of romance and reading matter is seductive in its own right, providing comfy book-lined settings and people who are what they read and write.
    • 72 Metascore
    • 80 Elvis Mitchell
    An American remake with plenty of new pizazz.
    • 65 Metascore
    • 80 Elvis Mitchell
    When it comes to holiday films worth swooning over, here's the one to see.
    • 65 Metascore
    • 80 Elvis Mitchell
    With unexpected success, Robert Altman plays a John Grisham mystery in a seductive new key.
    • 75 Metascore
    • 80 Elvis Mitchell
    The film's greatest directorial success is in finding a thoroughly entertaining way of inviting the audience to share Valerie's point of view.
    • 73 Metascore
    • 80 Elvis Mitchell
    The Dinner Game, which Veber wrote and directed, is one of his better-constructed comedies of errors.
    • 71 Metascore
    • 80 Elvis Mitchell
    Dryly clever.
    • 62 Metascore
    • 80 Elvis Mitchell
    The real fun here comes from watching Mr. Kline bounding through two archly good performances, Mr. Cleese coming hilariously unstrung in the presence of Ms. Curtis and all those adorable animals.
    • 59 Metascore
    • 80 Elvis Mitchell
    The good thing is that the principals and film makers make the absolute most of a conventional opportunity.
    • 70 Metascore
    • 80 Elvis Mitchell
    An intense, volatile film full of sorrow and wild, mordant humor.
    • 73 Metascore
    • 80 Elvis Mitchell
    Made with such overriding jubilation that its coarseness is mostly liberating...well worth admiring for its sheer glee.
    • 90 Metascore
    • 80 Elvis Mitchell
    The filmmaker creates schematic, intuitive images that hauntingly crystallize the characters' situations.
    • 72 Metascore
    • 80 Elvis Mitchell
    Go
    He (Liman) creates a film that lives up to the momentum of its title and doesn't really need much more.
    • 68 Metascore
    • 80 Elvis Mitchell
    Cool, stark compositions and the occasional audacious visual trick give Buffalo '66 a memorable look even when its narrative enters the occasional uneventful stretch.
    • 63 Metascore
    • 80 Elvis Mitchell
    Basketball, bold urban landscapes, larger-than-life characters and red-hot visual pyrotechnics are the strong points of Mr. Lee's biggest three-ring circus, not to mention the central presence of Denzel Washington.
    • 71 Metascore
    • 80 Elvis Mitchell
    Mr. Hanks's debut feature, written and directed with delightful good cheer, is rock-and-roll nostalgia presented as pure fizz.
    • 46 Metascore
    • 80 Elvis Mitchell
    But Mr. Penn mostly keeps a tight, impassioned grip on this material, preventing it from wandering too far afield. The influence of John Cassavetes is again clear in the characters' emotional sparring, which has energy and heart.
    • 68 Metascore
    • 80 Elvis Mitchell
    Two little words: Jim Carrey. That's all it takes to transform Liar Liar from a formulaic Hollywood comedy into an uproarious one-man free-for-all.
    • 71 Metascore
    • 80 Elvis Mitchell
    Suspicious and hilariously self-absorbed, Favreau's every bit as comfortable in California as Charles Grodin's "Heartbreak Kid" was in Miami. [18 October 1996, p. C3]
    • The New York Times
    • 60 Metascore
    • 80 Elvis Mitchell
    One of this film's greatest accomplishments is its making an audience believe that the Corleones and their various partners in crime have been entirely in character during the intervening decades, but have simply neglected to turn up on screen.
    • 80 Metascore
    • 80 Elvis Mitchell
    John Hurt is simply wonderful -- acerbic, funny and heartbreaking.
    • 68 Metascore
    • 80 Elvis Mitchell
    Hurtling pace, by-the-numbers character development and exotic science. Tornado-chasing suddenly takes on a sex appeal not usually associated with horrendous storms.

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