Elvis Mitchell

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For 390 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 6.9 points higher than other critics. (0-100 point scale)

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Thelma & Louise
Lowest review score: 0 Showgirls
Score distribution:
  1. Negative: 16 out of 390
390 movie reviews
    • 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.
    • 70 Metascore
    • 70 Elvis Mitchell
    If Ed Wood has a major failing, it's the lack of momentum. Wood's career had nowhere to go, and to some extent the film has the same problem. [23 September 1994, p.C34]
    • 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.
    • 72 Metascore
    • 70 Elvis Mitchell
    Hard to believe that real emotion was involved anywhere in this story.
    • 61 Metascore
    • 70 Elvis Mitchell
    A film with a counterproductive tendency to take its time...but unassumingly strong, moving performances and Darabont's durable storytelling make it a trip worth taking just the same.
    • 81 Metascore
    • 70 Elvis Mitchell
    It exaggerates real, recognizable attitudes in a manner that intends to be disturbing.
    • 47 Metascore
    • 70 Elvis Mitchell
    It remains the most structurally elegant and sneakily playful of thrillers. At least some things never change.
    • 78 Metascore
    • 70 Elvis Mitchell
    One more film that could have been helped by excising repetition and focusing performances, but it wanders almost randomly instead. The heart-piercing moments that punctuate its rambling are glimpses of what a tighter film might have been.
    • 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
    • 52 Metascore
    • 70 Elvis Mitchell
    [The writers/directors] show easygoing humor and the wisdom to borrow well. Their film at various times recalls tenderhearted coming-of-age comedies from "American Graffiti" onward, with strong homage to the works of Cameron Crowe, Amy Heckerling and John Hughes.
    • 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
    A lively, well-constructed film with a large and appealing cast.
    • 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.
    • 28 Metascore
    • 70 Elvis Mitchell
    Joel Schumacher, director and ringmaster, piles on the flashy showmanship and keeps the film as big, bold, noisy and mindlessly overwhelming as possible.
    • 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
    This film maker's supremely tactile, sensual style and his taste for exoticism are captivatingly on display in Stealing Beauty, even if the film's philosophizing sometimes lacks the intellectual heft of a cotton puff.
    • 82 Metascore
    • 70 Elvis Mitchell
    Has the elements of an emotionally gripping story. Yet is feels less like a romance than like a coffee-table book celebrating the magic of special effect. [6 July 1994, p. C9]
    • The New York Times
    • 89 Metascore
    • 70 Elvis Mitchell
    This angular and intelligent romantic comedy isn't entirely consistent. Even as you laugh, it's a movie you admire more than love.
    • 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.
    • 77 Metascore
    • 70 Elvis Mitchell
    What Mr. Linklater does best here is to come up with conversational gambits that have just the right fancifulness to suit this situation.
    • 71 Metascore
    • 70 Elvis Mitchell
    Despite its "based on a true story" opening credit, this earnest, nostalgic film has a way of seeming too good to be true.
    • 70 Metascore
    • 70 Elvis Mitchell
    It's a movie struggling with its own identity crisis, and with the obvious constraints created by its subject matter.
    • 66 Metascore
    • 70 Elvis Mitchell
    The movie has lots of glossy charm even if Ms. Roberts and Grant seem less like lovers than members of a support group for the desperately attractive.
    • 64 Metascore
    • 70 Elvis Mitchell
    Has warmth and good cheer. The film is loosely focused, but its ensemble cast is as affable as anything on television these days.
    • 57 Metascore
    • 70 Elvis Mitchell
    The film tends to be funny when confining itself to short sketches or dopey television-based humor, flat when pretending to be anything more.
    • 48 Metascore
    • 70 Elvis Mitchell
    Events are minor and they unfold slowly. The audience has plenty of time to get ahead of the game.
    • 62 Metascore
    • 70 Elvis Mitchell
    Smith makes a big, gutsy leap into questions of faith and religion. He miraculously emerges with his humor intact and his wings unsinged.
    • 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.
    • 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.
    • 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
    • 72 Metascore
    • 70 Elvis Mitchell
    Antz works best just showing off its prodigious voice talent.
    • 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
    • 60 Metascore
    • 70 Elvis Mitchell
    Though Videodrome finally grows grotesque and a little confused, it begins very well and sustains its cleverness for a long while. (Review of Original Release)
    • 35 Metascore
    • 70 Elvis Mitchell
    Mr. Lyne's films may not cast any new light on the human condition, but they do keep you glued to the screen.
    • 70 Metascore
    • 70 Elvis Mitchell
    Mr. Ferrara has his saving graces, too, the chief one being raw talent, which he continues to display while telling even the most far-fetched story.
    • 32 Metascore
    • 70 Elvis Mitchell
    Disarmingly, the film thus acknowledges the Spice Girls' flash-in-the-pan status and lets them kid around about their frankly synthetic career.
    • 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
    • 59 Metascore
    • 70 Elvis Mitchell
    Half the film is an ingenuous love story, but the better half consists of pop culture time-warp jokes set in 1985.
    • 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.
    • 63 Metascore
    • 70 Elvis Mitchell
    Tauntingly flirtatious scenes between Ms. Ryder and Ms. Weaver give this film a sexual boldness that the others' action-adventure spirit lacked.
    • 50 Metascore
    • 70 Elvis Mitchell
    The story, neatly compressed, unfolds in dependable and photogenic ways. And it is coaxed along by Mr. Pakula's considerable skills as a brisk, methodical film maker.
    • 73 Metascore
    • 70 Elvis Mitchell
    Mythic pulp has its allure, and it also has its limitations. El Mariachi displays no real emotion except a profound appreciation for the genre film making that has inspired it, and a delight in manipulating the elements of such stories.
    • 58 Metascore
    • 70 Elvis Mitchell
    Seldom is it clearer that a film is nothing more than high-gloss jokey escapism, or that when visual cliches are this relentless they become weirdly fascinating in their own right.
    • 55 Metascore
    • 70 Elvis Mitchell
    Beyond his struggles with an unwieldy accent and the screenplay's hokum, Mr. Pitt gives a sincere if labored performance enhanced by a sense of genuine struggle.
    • 75 Metascore
    • 70 Elvis Mitchell
    The film succeeds in finding something sweetly romantic and visually fresh in Grover's flashback memories of Jane, along with allowing Grover plenty of room for wisecracks.
    • 43 Metascore
    • 70 Elvis Mitchell
    Culminates in a show-stopping action sequence set in midtown Manhattan, directed by Ms. Leder with crisp economy and furious energy.
    • 78 Metascore
    • 70 Elvis Mitchell
    Dazed and Confused has an enjoyably playful spirit, one that amply compensates for its lack of structure. [24 Sept 1993, p.C12]
    • 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.
    • 56 Metascore
    • 60 Elvis Mitchell
    Ms. Foster and the screenwriter, W. D. Richter, have given this film some peculiar mood swings, so that it starts out zanily and winds down to a wistful note.
    • 46 Metascore
    • 60 Elvis Mitchell
    Manages to have playful comic ingenuity of its own.
    • 39 Metascore
    • 60 Elvis Mitchell
    More often, the film is like a ride through a car wash: forward motion, familiar phases in the same old order and a sense of being carried along steadily on a well-used track. It works without exactly showing signs of life.
    • 52 Metascore
    • 60 Elvis Mitchell
    Eastwood directs a sensible-looking genre film with smooth expertise, but its plot is quietly berserk.
    • 67 Metascore
    • 60 Elvis Mitchell
    Grandiose and silly.
    • 65 Metascore
    • 60 Elvis Mitchell
    A mildly facetious tone limits Anderson's film to the lightweight, but the collective enthusiasm behind this debut effort still comes through. What's best about Bottle Rocket is not the laid-back pranks that inflate its story to feature length but the offbeat elan with which that story is told.
    • 52 Metascore
    • 60 Elvis Mitchell
    Lost Highway, an elaborate hallucination that could never be mistaken for the work of anyone else, finds Mr. Lynch echoing the perversity of "Blue Velvet," the earlier film of his that this most closely resembles.
    • 52 Metascore
    • 60 Elvis Mitchell
    Predicated on two ideas -- that human nature is rife with perfidy and that it's important to get the cast into hot cars or bathing suits whenever possible -- Mr. McNaughton and the cinematographer Jeffrey L. Kimball (''Top Gun,'' ''True Romance'') give a decadent gloss to this far-fetched, quintuple-crossing tale.
    • 35 Metascore
    • 60 Elvis Mitchell
    While this is no quick-witted treat on a par with Mr. Levinson's ''Wag the Dog,'' it's a solid thriller with showy scientific overtones.
    • 84 Metascore
    • 60 Elvis Mitchell
    Thornton is sadly affecting in the film's central role.
    • 48 Metascore
    • 60 Elvis Mitchell
    Beyond its persistent coarseness, Wallace's story often trades yesterday's inspiration (Dumas) for today's (Simpson-Bruckheimer).
    • 44 Metascore
    • 60 Elvis Mitchell
    Works well as family entertainment.
    • 48 Metascore
    • 60 Elvis Mitchell
    Fortunately, the Webber shelter is a jaunty monument to kitsch, and the Webbers themselves are an appealingly batty crew.
    • 49 Metascore
    • 60 Elvis Mitchell
    Best watched as a showcase for radiant young talent.
    • 46 Metascore
    • 60 Elvis Mitchell
    The film shows off Ms. Bullock to amusing if overly frenetic advantage. It also leaves Affleck without enough of a Cary Grant aura to play his wimpier character with style.
    • 42 Metascore
    • 60 Elvis Mitchell
    Hope Floats, which often resembles a rosy commercial, does indulge in too much awkward slow motion, and in occasional embarrassing romps that are meant to signify family fun.
    • 46 Metascore
    • 60 Elvis Mitchell
    Banderas directs capably enough to keep the film lively.
    • 33 Metascore
    • 60 Elvis Mitchell
    Gathers a partyful of young players and barely gives them enough of a story line to puff on, but it gets by on personality anyhow.
    • 60 Metascore
    • 60 Elvis Mitchell
    At regular intervals the film stops short for similiarly nifty Chan choreography, letting the star flip, swivel, scamper up walls and hurl large objects with his feet.
    • 54 Metascore
    • 60 Elvis Mitchell
    As the family film least insulting to its audience's intelligence this season, Mouse Hunt has its share of grown-up appeal along with mouse mischief guaranteed to have children giggling.
    • 55 Metascore
    • 60 Elvis Mitchell
    Ghoulish interest is a prerequisite for watching Mira Sorvino (as a bold and athletic entomologist) act against performers who have mandibles, or for appreciating the care with which nymph, juvenile and adult insect villains have been devised.
    • 62 Metascore
    • 60 Elvis Mitchell
    The five young stars would have mixed well even without the fraudulent encounter-group candor towardS which The Breakfast Club forces them. Mr. Hughes, having thought up the characters and simply flung them together, should have left well enough alone.
    • 56 Metascore
    • 60 Elvis Mitchell
    The film, like Nikita herself, becomes more conventionally sleek and less interestingly bizarre as it moves along.
    • 46 Metascore
    • 60 Elvis Mitchell
    Mr. Garcia gives one of his sleeker dreamboat performances.
    • 68 Metascore
    • 60 Elvis Mitchell
    This film often fumbles, but it finally tugs at the heartstrings all the same.
    • 53 Metascore
    • 60 Elvis Mitchell
    Treats its characters seriously and doesn't resort to the obvious very often.
    • 41 Metascore
    • 60 Elvis Mitchell
    This escapist comedy is so cheerfully outlandish that it's hard to resist, and so good-hearted that it's genuinely endearing.
    • 62 Metascore
    • 60 Elvis Mitchell
    Though the film has its basis in an actual event that took place in St. Louis, it takes on the homogeneous look of many other thrillers in which an emergency escalates into a paramilitary operation.
    • 60 Metascore
    • 60 Elvis Mitchell
    Amusing but sloppy and overcomplicated.
    • 55 Metascore
    • 60 Elvis Mitchell
    In Volcano, the thrills are so well wrought that they eventually lose their novelty and become numbing.
    • 36 Metascore
    • 60 Elvis Mitchell
    The gags, like the plotting, have a giddy edge that can be sharp, but just as often they go nowhere.
    • 47 Metascore
    • 60 Elvis Mitchell
    Newell's ensemble timing and breezily sardonic style make it work better than might be expected.
    • 35 Metascore
    • 60 Elvis Mitchell
    Mr. Boyle's brand of heaven-sent love story comes with a strange and whimsical mean streak. Tender thoughts and ha-ha shootings don't automatically mix.
    • 41 Metascore
    • 60 Elvis Mitchell
    For all the funny possibilities of Mr. Murphy's neat transformation here, the latest comedy from Stephen Herek ("Bill and Ted's Excellent Adventure," "The Mighty Ducks") doesn't know what to do with him.
    • 54 Metascore
    • 60 Elvis Mitchell
    The film's cool, sober texture and its clever characters are often more interesting than the larger plot.
    • 45 Metascore
    • 60 Elvis Mitchell
    Grosbard mercifully avoids melodrama -- the only real false notes are musical ones, from a score by Elmer Bernstein that turns familiar and trite when the film does not.
    • 51 Metascore
    • 60 Elvis Mitchell
    Easier to watch than it is to believe.
    • 55 Metascore
    • 60 Elvis Mitchell
    Largely because Mr. Cuaron is such a voluptuous visual stylist, this Great Expectations is capable of wonder even when its wilder ideas misfire.
    • 41 Metascore
    • 60 Elvis Mitchell
    Mallrats mixes clever bits and an appealing quirkiness (which goes a long way) with gross-out practical jokes, needless repetition and obvious padding, since it has no real plot. [20 Oct 1995]
    • The New York Times
    • 58 Metascore
    • 60 Elvis Mitchell
    But Night Falls on Manhattan is also oddly listless. It doesn't often live up to the doomy eloquence of its title.
    • 47 Metascore
    • 60 Elvis Mitchell
    Travolta again carries a film with enjoyable ease, even if this one remains badly diminished by its perverse streak.
    • 83 Metascore
    • 60 Elvis Mitchell
    A B-movie with flair.
    • 43 Metascore
    • 60 Elvis Mitchell
    The special effects are suitably catastrophic, though they aren't much more clever than the computer tricks that turn up in beer commercials these days.
    • 47 Metascore
    • 60 Elvis Mitchell
    The Crash characters sleepwalk through this story in a state of futuristic numbness, seeking extreme forms of sensation because familiar feelings have long since failed them. It's a chilling, ghastly possibility that manages to exert a grim fascination.
    • 68 Metascore
    • 60 Elvis Mitchell
    Its name, the film's title, is pronounced "eggs is tense" and meant to have a whiff of the philosophical, even if its intellectual ambition seems mostly limited to spelling affectations.
    • 39 Metascore
    • 60 Elvis Mitchell
    Eschewing warm, cuddly imagery just as Mr. Van Allsburg's book does, the film affects a strange, artificial style that has the invasive weirdness of "Gremlins" but none of the charm.
    • 53 Metascore
    • 60 Elvis Mitchell
    Edward Zwick's ultimately sedate thriller starts out with crisply efficient style and the potential for a much more involving story.
    • 26 Metascore
    • 60 Elvis Mitchell
    Ultimately, Ms Lynch has nowhere to take her erotic parable except to a dead end, but she makes the unfolding of the story a spooky, engrossing process. [9 Sept 1993, p.C1]
    • The New York Times
    • 41 Metascore
    • 60 Elvis Mitchell
    Ms. Davis gets to deliver the film's obvious message in a single unremarkable line: ''You can tell a lot about a society by who it chooses to celebrate.'' But most of what you can tell from the fun-house mirrors of Celebrity is what you already know.
    • 72 Metascore
    • 60 Elvis Mitchell
    Yet this film, for all its apparent immediacy, winds up less affecting than a more poetic or roundabout approach might be.
    • 65 Metascore
    • 60 Elvis Mitchell
    But the film's central figure remains a cipher, the subject of a colorful scrapbook rather than a revealing portrait.

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