Elvis Mitchell
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For 389 reviews, this critic has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 9.2 points higher than other critics. (0-100 point scale)

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Saving Private Ryan
Lowest review score: 0 Baby Geniuses
Score distribution:
  1. Negative: 17 out of 389
389 movie reviews
    • 74 Metascore
    • 80 Elvis Mitchell
    Like a great chef concocting an exquisite peanut butter-and-jelly sandwich, Mr. Burton invests awe-inspiring ingenuity into the process of reinventing something very small.
    • 69 Metascore
    • 80 Elvis Mitchell
    A romantic comedy that's a hoot in every sense, worth a smidgen of disapproval and a whole lot of helpless laughter...The film works ridiculously well because it never stoops to being mean-spirited or (despite all appearances) authentically inane.
    • 61 Metascore
    • 80 Elvis Mitchell
    A meat-and-potatoes American thriller that means business all around the world.
    • 71 Metascore
    • 80 Elvis Mitchell
    Queen Victoria is played with splendid regal grace by Judi Dench.
    • 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.
    • 70 Metascore
    • 80 Elvis Mitchell
    Deliver laughs and skewer a few stereotypes, thanks to extremely sly wit and a fine cast.
    • 73 Metascore
    • 80 Elvis Mitchell
    To their credit, the actors immerse themselves deeply in the film's self-conscious aura. Ms. Sheedy reinvents herself as a tough, fascinating presence, while Ms. Mitchell's earnest bewilderment also serves the story well.
    • 46 Metascore
    • 80 Elvis Mitchell
    Based on Alice Hoffman's fanciful novel and directed with go-for-broke prettiness by Griffin Dunne, Practical Magic is nothing but a guilty pleasure.
    • 83 Metascore
    • 80 Elvis Mitchell
    The stylish irreverence of Trainspotting mimics that drug high and delivers its own potent kick.
    • 67 Metascore
    • 80 Elvis Mitchell
    It has a hurtling pace, nonstop intensity and a stylish, appealing performance by Will Smith in his first real starring role.
    • 77 Metascore
    • 80 Elvis Mitchell
    Mr. Reiner seems to understand exactly what Mr. Goldman loves about stories of this kind, and he conveys it with clarity and affection. [25 Sept 1987, p.C10]
    • The New York Times
    • 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.
    • 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.
    • 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.
    • 90 Metascore
    • 80 Elvis Mitchell
    The filmmaker creates schematic, intuitive images that hauntingly crystallize the characters' situations.
    • 68 Metascore
    • 80 Elvis Mitchell
    Affectionately told ...beguiling.
    • 79 Metascore
    • 80 Elvis Mitchell
    Mamet's handsome, stately adaptation of Terence Rattigan's play The Winslow Boy does not embellish upon its source material. Instead it skillfully pares the play down to its essentials, arriving at a faithful but tighter version of this drama.
    • 63 Metascore
    • 80 Elvis Mitchell
    This is hot-weather escapism so earnestly retrograde that it seems new.
    • 77 Metascore
    • 80 Elvis Mitchell
    Tykwer deliberately blows away all traces of the mundane and the familiar, so that not even the closing credit crawl moves in the expected way.
    • 80 Metascore
    • 80 Elvis Mitchell
    There's plenty of room for sentimentality here, but the wonder of Salles' film is all in the telling.
    • 66 Metascore
    • 80 Elvis Mitchell
    Finding hilarity in John Waters's latest movie title is the basic pre requisite for enjoying the goofy ingenuity of his new film.
    • 67 Metascore
    • 80 Elvis Mitchell
    Thanks to sharp editing and surprisingly strong comic timing, the film puts less emphasis on the Stern raunchiness than on how his wilder routines make listeners drive off the road.
    • 65 Metascore
    • 80 Elvis Mitchell
    While this film's conception of a terrorist threat is apparent early on, its strength lies in a string of ingenious little surprises.
    • 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.
    • 70 Metascore
    • 80 Elvis Mitchell
    The web of lies, failures and brutal revelations here is strong stuff, and it's the work of an original filmmaker who takes no prisoners.
    • 68 Metascore
    • 80 Elvis Mitchell
    And the dancing, as in ''Strictly Ballroom,'' is filmed with a wishful Fred-and-Ginger sweetness that gives the film a studiously effervescent mood.
    • 85 Metascore
    • 80 Elvis Mitchell
    The movie's special gift happens to be Mark Wahlberg, who gives a terrifically appealing performance in this tricky role.
    • 71 Metascore
    • 80 Elvis Mitchell
    Smith's knowing humor and unruffled style make a good antidote to gender chaos. Music by David Pirner contributes to the film's loose, inviting mood.
    • 71 Metascore
    • 80 Elvis Mitchell
    The don't quite do for "Oklahoma!" what they did for heavy metal, but they come close. [31 Jan 1997, p.C6]
    • The New York Times
    • 76 Metascore
    • 80 Elvis Mitchell
    A heartbreakingly thoughtful minor classic, the work of a genuine and singular artist.
    • 80 Metascore
    • 80 Elvis Mitchell
    John Hurt is simply wonderful -- acerbic, funny and heartbreaking.
    • 77 Metascore
    • 80 Elvis Mitchell
    Goes straight to cult status without quite touching one important base: the audience's emotions. This movie finally isn't anything move than an intricate feat of gamesmanship, but it's still quite something to see. [16 August 1995, p. C15]
    • 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.
    • 59 Metascore
    • 80 Elvis Mitchell
    Two reasons it's impossible to resist "Independence Day": because of its pitch-perfect cartoonish dialogue ("Now you're never gonna get to fly the space shuttle if you marry a stripper!") and because the Captain, like Indiana Jones, is so unflappably tough.
    • 74 Metascore
    • 80 Elvis Mitchell
    What especially elevates it is the razor-sharp cleverness of McKellen's performance, which brings unusual fullness and feeling to a most unusual man.
    • 75 Metascore
    • 80 Elvis Mitchell
    This Elizabeth is presented as a glamorously stressed-out modern woman who must cope with a super-intense case of having it all.
    • 73 Metascore
    • 80 Elvis Mitchell
    The film, like its heroine, has a genius for getting by on pure charm. [21 Dec 1988]
    • The New York Times
    • 37 Metascore
    • 80 Elvis Mitchell
    The characters remain funny and likable, and they all live on Earth.
    • 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.
    • 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.
    • 57 Metascore
    • 80 Elvis Mitchell
    A vibrant, grisly, gleefully amoral road movie. [10 Sept 1993, p.C5]
    • The New York Times
    • 90 Metascore
    • 80 Elvis Mitchell
    Warm, affecting and refreshingly shtickless, he (Carrey) occupies center stage here through sheer, beguiling force of personality.
    • 66 Metascore
    • 80 Elvis Mitchell
    The sardonic, testosterone-fueled science fiction of Fight Club touches a raw nerve.
    • 65 Metascore
    • 80 Elvis Mitchell
    Directed by Eastwood with righteous indignation and increasingly strong momentum.
    • 70 Metascore
    • 80 Elvis Mitchell
    An intense, volatile film full of sorrow and wild, mordant humor.
    • 69 Metascore
    • 80 Elvis Mitchell
    Watching it amble along is enough of a treat, since the Coens populate this story with oddballs and bowling balls of such comic variety.
    • 68 Metascore
    • 80 Elvis Mitchell
    Even if Clueless runs out of gas before it's over, most of it is as eye-catching and cheery as its star. [19 July 1995]
    • The New York Times
    • 76 Metascore
    • 80 Elvis Mitchell
    Violent as it is on the surface, Akira is tranquil at its core. The story's sanest characters plead for the wise use of mankind's frightening new powers, lending the whole film the feeling of a cautionary tale.
    • 67 Metascore
    • 80 Elvis Mitchell
    With great looks, a dandy supporting cast, a zinger-filled screenplay by Aaron Sorkin ("A Few Good Men") and Mr. Douglas twinkling merrily in the Oval Office, The American President is sunny enough to make the real Presidency pale by comparison.
    • 73 Metascore
    • 80 Elvis Mitchell
    Made with such overriding jubilation that its coarseness is mostly liberating...well worth admiring for its sheer glee.
    • 77 Metascore
    • 80 Elvis Mitchell
    Despite its underlying predictability, Courage Under Fire manages warmth, intelligence and a healthy share of surprises.
    • 72 Metascore
    • 80 Elvis Mitchell
    An American remake with plenty of new pizazz.
    • 60 Metascore
    • 80 Elvis Mitchell
    Bright, stylish, ridiculously alluring.
    • 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.
    • 54 Metascore
    • 80 Elvis Mitchell
    However simply he approaches this familiar milieu, Mr. Stone winds up treating his story's sin-soaked connivers the way Francis Ford Coppola treated vampires. Neither of them is really capable of anything plain.
    • 74 Metascore
    • 80 Elvis Mitchell
    Another fast, gripping spy story with some good tricks up its sleeve.
    • 68 Metascore
    • 80 Elvis Mitchell
    Even after the film's last half-hour descends into a silly season, Mr. Rudolph writes and directs with obvious affection for his characters and with a deep knowledge of whatever makes them tick.
    • 45 Metascore
    • 80 Elvis Mitchell
    But Mr. Costa-Gavras, a galvanizing filmmaker working with a splendid cast, is able to tell this story in style.
    • 59 Metascore
    • 80 Elvis Mitchell
    The good thing is that the principals and film makers make the absolute most of a conventional opportunity.
    • 68 Metascore
    • 80 Elvis Mitchell
    This new menu movie has a soapy plot, appealing stars, family values, down-home atmosphere and a conviction that there's rarely a problem fried chicken can't cure.
    • 58 Metascore
    • 80 Elvis Mitchell
    Gloriously colorful, cleverly conceived and set in motion with the usual Disney vigor, Pocahontas is one more landmark feat of animation.
    • 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.
    • 60 Metascore
    • 80 Elvis Mitchell
    All of the performers are upstaged by the film's breathtaking backdrop, and by the fast and furious way Renny Harlin, the director, approaches action sequences.
    • 78 Metascore
    • 80 Elvis Mitchell
    This film's dialogue isn't much more literate than a bus schedule, but its plotting is smart and breathless enough to make up for that.
    • 66 Metascore
    • 80 Elvis Mitchell
    Gwyneth Paltrow makes a resplendent Emma, gliding through the film with an elegance and patrician wit that bring the young Katharine Hepburn to mind.
    • 61 Metascore
    • 80 Elvis Mitchell
    What matters more is that Ms. Goldberg, along with her co-stars Mary-Louise Parker and Drew Barrymore, is so sharp, funny and wholehearted that this film creates an unexpected groundswell of real emotion.
    • 70 Metascore
    • 80 Elvis Mitchell
    Another nice thing about Circle of Friends is that it escapes a happily-ever-after scenario to provide more bite and toughness than it first promises.
    • 76 Metascore
    • 80 Elvis Mitchell
    This comedy has less to do with narrative than with sheer chutzpah and a first-rate cast. It manages to be irreverently funny despite a subject that is no laughing matter.
    • 89 Metascore
    • 80 Elvis Mitchell
    Mr. Lee, whose lean, straightforward documentary style loses none of his usual clarity and fire (the film has been exceptionally well shot by Ellen Kuras), summons a powerful sense of Birmingham's past and a galvanizing sense of how this bombing would change its future.
    • 66 Metascore
    • 80 Elvis Mitchell
    Limited by the vapidity of this material while he trims its excesses with the requisite machete, Mr. Eastwood locates a moving, elegiac love story at the heart of Mr. Waller's self-congratulatory overkill.
    • 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.
    • 61 Metascore
    • 70 Elvis Mitchell
    Another demonstration that current movies about upscale black characters have much more traditional values than ones about catty white teen-agers.
    • 48 Metascore
    • 70 Elvis Mitchell
    With down-to-earth comic instincts, it simply invests its story with a loud ring of truth.
    • 75 Metascore
    • 70 Elvis Mitchell
    Its best moments come from witnessing the Senator's inspired unraveling, not from watching where it will end.
    • 66 Metascore
    • 70 Elvis Mitchell
    Though it all comes together, most tragically, at the conclusion, Colors is less notable for its plot than for its chilling urgency and its sense of pure style. [15 Apr 1988, p.C4]
    • The New York Times
    • 83 Metascore
    • 70 Elvis Mitchell
    The process whereby Loretta and Ronny fall in love is a lot less appealing than the large-family drama unfolding around the Castorinis' kitchen table. [16 Dec 1987, p.C22]
    • The New York Times
    • 73 Metascore
    • 70 Elvis Mitchell
    As snappy and assured as it is mean-spirited. Its originality extends well beyond the limits of ordinary high school histrionics and into the realm of the genuinely perverse.
    • 51 Metascore
    • 70 Elvis Mitchell
    Both actors play their roles so trickily that tensions escalate until the horror grows unimaginatively gothic.
    • 76 Metascore
    • 70 Elvis Mitchell
    Shows colorful style and a wisdom beyond precocity about its setting and its people.
    • 65 Metascore
    • 70 Elvis Mitchell
    A terrific offbeat cast operating on one shared, loony wavelength.
    • 70 Metascore
    • 70 Elvis Mitchell
    An inviting but evanescent film that does have casualness, curiosity value and a lot of talent on its side.
    • 48 Metascore
    • 70 Elvis Mitchell
    Events are minor and they unfold slowly. The audience has plenty of time to get ahead of the game.
    • 72 Metascore
    • 70 Elvis Mitchell
    Hard to believe that real emotion was involved anywhere in this story.
    • 81 Metascore
    • 70 Elvis Mitchell
    It exaggerates real, recognizable attitudes in a manner that intends to be disturbing.
    • 64 Metascore
    • 70 Elvis Mitchell
    The filmmaker has borrowed from Chekhov the soul-baring introspection that can be so ineffable on the page or stage yet becomes so damply sensitive and dramatically vague on screen.
    • 63 Metascore
    • 70 Elvis Mitchell
    Lawrence and Murphy make an entertaining team. And they are surrounded by a supporting cast that makes the prison setting more pleasant than it has any right to be.
    • 76 Metascore
    • 70 Elvis Mitchell
    It will help if, while watching The Naked Gun, viewers can assume a mental age of about 14. The jokes will seem fresher that way, and they will also, much to the writers' credit, seem screamingly funny at times. [2 Dec 1988, p.C16]
    • The New York Times
    • 77 Metascore
    • 70 Elvis Mitchell
    Fever beings to flag when, after an initial hour filled with high spirits and jubilant music, it settles down to tell its story; the effect is so deflating that it's almost as though another Monday has rolled around and it's time to get back to work. [16 Dec 1977]
    • The New York Times
    • 63 Metascore
    • 70 Elvis Mitchell
    Muriel's Wedding runs into trouble when it looks for poignancy too openly, working better at giddy moments than in its occasional sad ones. Most of the time, Mr. Hogan keeps his story light and surprising.
    • 69 Metascore
    • 70 Elvis Mitchell
    Ms. Jenkins, who makes her writing and directing debut with wit and confidence, keeps the small surprises frequent and the coming-of-age perspective sharp.
    • 58 Metascore
    • 70 Elvis Mitchell
    To its credit, the film doesn't sugarcoat its women too monstrously, and it lets real conflicts and opinions occasionally creep in.
    • 63 Metascore
    • 70 Elvis Mitchell
    Dwarfed by the enormity of what it means to illustrate, the diffuse Amistad divides its energies among many concerns: the pain and strangeness of the captives' experience, the Presidential election in which they become a factor, the stirrings of civil war, and the great many bewhiskered abolitionists and legal representatives who argue about their fate.
    • 57 Metascore
    • 70 Elvis Mitchell
    If Mr. Linklater is not entirely at ease with action sequences (or with the obligatory having-fun montage once the brothers become successful), he still makes this (after ''Before Sunrise'' and ''Suburbia'') another admirable directorial stretch.
    • 60 Metascore
    • 70 Elvis Mitchell
    Though both stars are sometimes eclipsed when the film strains for big action episodes, Mr. Duchovny sustains enough cool, deadpan intellect and suppressed passion to give the story a center. Ms. Armstrong has the harsher, more restrictive role, but she plays it with familiar hardboiled glamour.
    • 47 Metascore
    • 70 Elvis Mitchell
    It remains the most structurally elegant and sneakily playful of thrillers. At least some things never change.
    • 64 Metascore
    • 70 Elvis Mitchell
    A well-made work with much to recommend it, even if its worthiness is not the brightest flare on the movie horizon this season.
    • 48 Metascore
    • 70 Elvis Mitchell
    A lively, well-constructed film with a large and appealing cast.
    • 59 Metascore
    • 70 Elvis Mitchell
    Cheerful, giddy fun.
    • 62 Metascore
    • 70 Elvis Mitchell
    Mr. Scott's affinity for the visceral and strenuous, from ''Alien'' to ''Blade Runner'' to ''White Squall,'' is much more central here than the renegade feminism of his ''Thelma and Louise.'' With punishing intensity, he plunges his audience into the maelstrom of the training program.
    • 64 Metascore
    • 70 Elvis Mitchell
    The visual illusion that Ms. Lohan is actually two characters has been accomplished so seamlessly that it barely diverts attention from one of the film's greatest passions, its product plugs.