Elvis Mitchell

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For 388 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 6.5 points higher than other critics. (0-100 point scale)

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Pulp Fiction
Lowest review score: 0 Equilibrium
Score distribution:
  1. Negative: 16 out of 388
388 movie reviews
    • 64 Metascore
    • 60 Elvis Mitchell
    Although Robbins might have drawn some of these characters with less obviousness and more satirical bite, he ably keeps this lively, complicated film on track.
    • 52 Metascore
    • 60 Elvis Mitchell
    Nothing if not earnest. It's also eccentric enough to remain interesting even when its ghost story isn't easy to believe.
    • 56 Metascore
    • 60 Elvis Mitchell
    The picture itself is good-humored, but bland and predictable. It's a cross between an All-American vaudevillian version of "Shakespeare in Love" and Mel Brooks's "Robin Hood: Men in Tights."
    • 62 Metascore
    • 60 Elvis Mitchell
    Mr. Murphy proves himself a surprisingly strong actor here, playing Sherman with sweetness and poignancy, not to mention loads of funny weight-related humor.
    • 49 Metascore
    • 50 Elvis Mitchell
    Thanks to Glenn Close's delicious villainy, it succeeds in breathing archly theatrical life into the irresistibly monstrous Cruella DeVil. Otherwise, this remake goes to the dogs too often.
    • 44 Metascore
    • 50 Elvis Mitchell
    Mr. Black's screenplay is mean-spirited, but it earns its keep with sharp, sarcastic dialogue and ingenious ways of setting up this story.
    • 61 Metascore
    • 50 Elvis Mitchell
    The film is shot by Bill Pope with such enterprising flair that it never looks claustrophobic, but the action inevitably stalls in such close quarters.
    • 76 Metascore
    • 50 Elvis Mitchell
    Its sensational looks pale beside storytelling weaknesses that expose the more soulless aspects of this cat-and-mouse crime tale. [15 Dec 1995]
    • The New York Times
    • 65 Metascore
    • 50 Elvis Mitchell
    Wes Craven (of the 'Nightmare on Elm Street' films) is in the mood for parody.
    • 64 Metascore
    • 50 Elvis Mitchell
    But for all its enthusiasm, this film isn't sharp enough to afford all the time it wastes on small talk, long drives, trips to the mall and favorite songs played on car radios.
    • 46 Metascore
    • 50 Elvis Mitchell
    A lot of attention has gone into the film's video games, computer imagery and costumes, to the point where simply watching these artifacts is half the fun...But eventually Hackers turns tedious, perhaps not realizing that an audience can get tired of the same old equations floating in cyberspace.
    • 56 Metascore
    • 50 Elvis Mitchell
    Eraser means to show off the star's standard persona against a backdrop of lavish special effects, which is certainly a formula that's worked before. But this is no "Terminator," since its tricks are so much more arbitrary and over-the-top.
    • 57 Metascore
    • 50 Elvis Mitchell
    Mr. Verhoeven is much better at drumming up this sort of artificial excitement than he is at knowing when to stop.
    • 45 Metascore
    • 50 Elvis Mitchell
    But the film is still breathless and shrill, since Alan Parker's direction shows no signs of a moral or political compass and remains in exhausting overdrive all the time.
    • 42 Metascore
    • 50 Elvis Mitchell
    The actors mark time, and the gung-ho heroics on display are embarrassingly hollow.
    • 37 Metascore
    • 50 Elvis Mitchell
    Though Mr. Williams sometimes seems on the verge of "Aladdin"-caliber improvisation with the ever-morphing green flubber, the film bogs him down with a fiancee (Marcia Gay Harden) hellbent on making him remember a wedding date, and with the full Hughes retinue of thugs and bullies.
    • 67 Metascore
    • 50 Elvis Mitchell
    There's a lot to make [Heckerling's] film likeable, but not much to hold it together. [3 Sept 1982, p.C6]
    • The New York Times
    • 51 Metascore
    • 50 Elvis Mitchell
    As for the actual movie, it's the empty-calorie equivalent of a Happy Meal (another Batman tie-in), so clearly a product that the question of its cinematic merit is strictly an afterthought.
    • 43 Metascore
    • 50 Elvis Mitchell
    With a too-many-cooks screenplay credited to Ron Osborn, Jeff Reno, Kevin Wade and Bo Goldman, it's so long that every character regrettably wears out his or her welcome.
    • 38 Metascore
    • 50 Elvis Mitchell
    While Mr. Howard ably maintains a strong forward momentum, Backdraft often feels directionless beneath its overlay of frantic activity. One clear story line would have been worth more than a series of subplots and tangents.
    • 42 Metascore
    • 50 Elvis Mitchell
    The film has energy even when it hasn't much sense, in a manner that will strike most non-cultists as exhausting.
    • 71 Metascore
    • 50 Elvis Mitchell
    The series now lacks all of its original stars and much of its earlier determination. It has morphed into something less innocent and more derivative than it used to be, something the noncultist is ever less likely to enjoy.
    • 57 Metascore
    • 50 Elvis Mitchell
    Army of Darkness would appeal to small children if it were not also too gruesome for them, since Ash does after all wield a chain saw. [19 Feb 1993, p.C10]
    • The New York Times
    • 38 Metascore
    • 50 Elvis Mitchell
    It cares far more about herding audiences into theaters than about what they hear or see.
    • 40 Metascore
    • 50 Elvis Mitchell
    Style overwhelms substance by default.
    • 71 Metascore
    • 50 Elvis Mitchell
    A film that not only breaks the cross-dressing barrier but also ratchets up the violence level for children's animation.
    • 61 Metascore
    • 50 Elvis Mitchell
    A parade of incongruities, with performances ranging from the sublime to the you-know-what.
    • 79 Metascore
    • 50 Elvis Mitchell
    Startlingly original at first, Wings of Desir' is in the end damagingly overloaded. The excesses of language, the ceaseless camera movement, the unyielding whimsy have the ultimate effect of wearing the audience down. (Review of Original Release)
    • 71 Metascore
    • 50 Elvis Mitchell
    The film transcends racial divisions by bestowing equally hopeless dialogue on both sides.
    • 45 Metascore
    • 50 Elvis Mitchell
    Timing does no favors for The Chamber, the John Grisham death row drama that arrives on the heels of a better death row film (''Dead Man Walking'') and a better Grisham adaptation (''A Time to Kill''). But this film's also-ran aspects are partly offset by Gene Hackman's superlative performance.
    • 37 Metascore
    • 50 Elvis Mitchell
    Depp moves through the film suavely and imperturbably, never letting the particulars bog him down.
    • 56 Metascore
    • 50 Elvis Mitchell
    It lacks the coherent fantasy of truly enveloping science fiction, preferring to concentrate on flashy, isolated stunts that say more about expense than expertise. [28 July 1995]
    • The New York Times
    • 52 Metascore
    • 50 Elvis Mitchell
    The worst of it is painless; the best is funny, sly, cheerful and, here and there, even genuinely inspired. [15 May 1987, p.C3]
    • The New York Times
    • 66 Metascore
    • 50 Elvis Mitchell
    Crimson Tide is better watched for its toy appeal and high-priced talent than for any real suspense over where Hunter's mutinous instincts will lead the story.
    • 44 Metascore
    • 50 Elvis Mitchell
    The film bounces busily among these players until it has to slow down and pretend to be sincere.
    • 65 Metascore
    • 50 Elvis Mitchell
    In fact even the film's most dramatic moments are presented with decorousness bordering on detachment.
    • 66 Metascore
    • 50 Elvis Mitchell
    Flashy, random shifts of film speed and a true rogues' gallery of striking if one-note characters, do hold interest even if they have no real right to. The commercial aspects also deflect attention from the fact that this story has almost no center at all.
    • 23 Metascore
    • 50 Elvis Mitchell
    Despite huge resources at Mr. De Bont's disposal and the fact that both he and Ms. Bullock have achieved stellar status since ''Speed'' screeched onto movie screens, the sequel is still a B-movie at heart.
    • 49 Metascore
    • 50 Elvis Mitchell
    The only sneaky scheme at work here is the one that inflates a hollow plot to fill 2 1/4 hours while banishing skepticism with endless close-ups of big, beautiful movie-star eyes.
    • 65 Metascore
    • 50 Elvis Mitchell
    Mr. Brosnan, as the best-moussed Bond ever to play baccarat in Monte Carlo, makes the character's latest personality transplant viable (not to mention smashingly photogenic), but the series still suffers the blahs.
    • 53 Metascore
    • 50 Elvis Mitchell
    The movie's biggest challenge, one that it does not exactly meet, is to persuade the audience that this husband and father's escapade is somehow an act of love.
    • 57 Metascore
    • 50 Elvis Mitchell
    Beloved works on its own but is much enhanced by familiarity with the Pulitzer Prize-winning novel. In so ambitiously bringing this story to the screen, Ms. Winfrey underscores a favorite, invaluable credo: read the book.
    • 46 Metascore
    • 50 Elvis Mitchell
    A potentially strong cast makes its way in deadly earnest through material that's often better suited to a Monty Python skit.
    • 50 Metascore
    • 50 Elvis Mitchell
    Likable for its outlandishness, less so when it shows a self-important streak.
    • 46 Metascore
    • 40 Elvis Mitchell
    Having introduced the two principals and had some fun with their antagonism, the film has nowhere to go.
    • 44 Metascore
    • 40 Elvis Mitchell
    It winds up illustrating the very emptiness it mocks.
    • 56 Metascore
    • 40 Elvis Mitchell
    But even after the documentary affectation gives way to a more conventional narrative, the film has trouble ringing true.
    • 37 Metascore
    • 40 Elvis Mitchell
    The film never gets past the unlikelihood that its characters have much chance of living happily ever after. Or of finding real heat or humor along the way.
    • 25 Metascore
    • 40 Elvis Mitchell
    Low humor might count for more here if it weren't constantly overshadowed by the film's maudlin streak.
    • 47 Metascore
    • 40 Elvis Mitchell
    False and condescending films in this genre are nothing new, but Dangerous Minds steamrollers its way over some real talent.
    • 34 Metascore
    • 40 Elvis Mitchell
    Trouble is, while not trading quips, the characters actually go through the motions of being scared of the croc, menaced by the croc and so on. And since even the gator horror satire is old hat (remember ''Alligator?''), there's no remaining way to make this interesting.
    • 40 Metascore
    • 40 Elvis Mitchell
    Would-be Hitchcockian cat-and-mouse games...are more memorable for their settings...than for their sense.
    • 39 Metascore
    • 40 Elvis Mitchell
    Garret is played by Kevin Costner, who should avoid all future roles that call for overalls and goggles and who this time crosses the line from teasingly laconic to stodgy.
    • 50 Metascore
    • 40 Elvis Mitchell
    Loud, frantic, ridiculously overproduced and featuring a preening performance by Val Kilmer as a supposedly brilliant master of disguise, The Saint is sheer overkill.
    • 22 Metascore
    • 40 Elvis Mitchell
    This glib, overheated film about vicious primates delivers little suspense, nor are there signs of the 65 cited volumes and articles that turned Mr. Crichton's book into such a learning experience.
    • 41 Metascore
    • 40 Elvis Mitchell
    It's a flimsy sentimental comedy with more product plugs and fewer laughs than might have been hoped for.
    • 30 Metascore
    • 40 Elvis Mitchell
    No film winds up with a name like Feeling Minnesota if it has anything definite in mind.
    • 19 Metascore
    • 40 Elvis Mitchell
    8MM
    Schumacher almost invariably breathes more life into his material than he has here. It's a lot easier to tick off the forced, farfetched touches in Eight Millimeter than to count the ones that ring true.
    • 47 Metascore
    • 40 Elvis Mitchell
    Directed by Dwight Little of "Free Willy 2," and written by onetime high school classmates, Wayne Beach and David Hodgin (Mr. Hodgin died in 1995), Murder at 1600 eagerly invokes other films and stock images without showing much style of its own.
    • 50 Metascore
    • 40 Elvis Mitchell
    Obtuse, prettily decorative comedy. Characters burst gaily into song when, as often happens, they don't have anything better to do.
    • 41 Metascore
    • 40 Elvis Mitchell
    A whopping wrong turn throws this lightweight, benign-looking movie terminally off course.
    • 47 Metascore
    • 40 Elvis Mitchell
    Pared down to a farfetched plot and paper-thin motives, the story relies on an overload of tangential subplots to keep it looking busy. [3 Apr 1996, p.C15]
    • The New York Times
    • 40 Metascore
    • 40 Elvis Mitchell
    The pace is so plodding and the dialogue so unwaveringly banal … that the film can't rise to the extraordinary sensations it means to capture.
    • 31 Metascore
    • 40 Elvis Mitchell
    Humorous slashings and car accidents constitute similar high points in a film that is glaringly short on ''Scream''-style self-mockery to match its dopey mayhem.
    • 16 Metascore
    • 40 Elvis Mitchell
    It succeeds as a reasonably smart no-brainer. If you've ever had a yen to relive the third grade, this must be the next best thing.
    • 73 Metascore
    • 40 Elvis Mitchell
    Dialogue that strains to be colorful, indiscriminately piled-on pop songs, plot developments that aren't followed through on, and minor aspects of motivation that are never known. [15 June 1988, p.C20]
    • The New York Times
    • 70 Metascore
    • 40 Elvis Mitchell
    Elaborate as this sounds, there really isn't much plot here, only a parade of arbitrary visual tricks to hold the film together. [30 Mar 1988, p.C18]
    • The New York Times
    • 40 Metascore
    • 40 Elvis Mitchell
    Isn't much when it comes to either deliberate or inadvertent humor. But it does have a few amusing moments.
    • 35 Metascore
    • 40 Elvis Mitchell
    Newly benign and noticeably clumsier than the hits (Williamson) has written.
    • 51 Metascore
    • 40 Elvis Mitchell
    Pretty actors, grisly critters, brains sucked out of skulls, buckets of green slime and a plot that is half beach blanket bingo, half Iwo Jima.
    • 58 Metascore
    • 40 Elvis Mitchell
    Neither fast nor furious, this film belongs in the section of the supermarket where blah-white labels and big block lettering denote brandless cigarettes, vodka, crushed pineapple and, in this case, action picture.
    • 53 Metascore
    • 40 Elvis Mitchell
    The Accidental Tourist often relies on Miss Tyler's methods without tempering them, and gives a tone of crashing obviousness to material that need not have seemed that way. [23 Dec 1988, p.C12]
    • The New York Times
    • 55 Metascore
    • 40 Elvis Mitchell
    Like "The Quick and the Dead," Desperado wavers uneasily between myth making and parody, so that too many scenes drag on long after they've lost their punch.
    • 22 Metascore
    • 30 Elvis Mitchell
    The film's bright look and visual energy are much more liberating than the machinations of its teen queens.
    • 33 Metascore
    • 30 Elvis Mitchell
    Two ridiculous blood-soaked hours.
    • 52 Metascore
    • 30 Elvis Mitchell
    Just a parade of scattershot gags, more often weird than funny an dmost often just flat. [13 Dec 1996, p.C5]
    • The New York Times
    • 56 Metascore
    • 30 Elvis Mitchell
    An astonishingly lazy and perfunctory effort that does little to realize his (Carrey) comic potential.
    • 65 Metascore
    • 30 Elvis Mitchell
    Not even bags of body parts, a bitten-off tongue or a man forced to cut off a pound of his own flesh keep it from being dull. [22 September 1995, p. C18]
    • The New York Times
    • 45 Metascore
    • 30 Elvis Mitchell
    Instead, Mr. Carrey turns up in a sloppy second Ace Ventura film that's little more than an echo of the first. A two-minute trailer wouldn't miss many of its highlights.
    • 52 Metascore
    • 30 Elvis Mitchell
    Mr. Carpenter has directed the film with B-movie bluntness, but with none of the requisite snap. And his screenplay (written under the pseudonym Frank Armitage) makes the principals sound even more tongue-tied than they have to. [4 Nov 1988, p.C8]
    • The New York Times
    • 59 Metascore
    • 30 Elvis Mitchell
    The eventual video game is bound to be a lot more fun -- and less slowed down by bad dialogue -- than this "Dead."
    • 27 Metascore
    • 30 Elvis Mitchell
    The film's only bright idea is a duo named Chain Saw (Cameron) and Dave (Riley), who love horror films and instigate grisly but imaginative practical jokes, like pretending to be attacked by bunnies when the class makes a field trip to a petting zoo. [22 July 1987, p.C22]
    • The New York Times
    • 49 Metascore
    • 30 Elvis Mitchell
    As directed by Barry Levinson and acted by an incredible collection of male stars, Sleepers settles the authenticity question by allowing not a whiff of real life into its universe.
    • 33 Metascore
    • 20 Elvis Mitchell
    The cast never has much chance to shine. And the main attraction is kept all too understandably under wraps.
    • 15 Metascore
    • 20 Elvis Mitchell
    The heads may be dead, but at least they have a comical look.
    • 36 Metascore
    • 20 Elvis Mitchell
    It must be said that Berkowitz's shamelessness and persistence aren't inevitably irresistible.
    • 33 Metascore
    • 0 Elvis Mitchell
    If someone left "1984," "Fahrenheit 451," "Brave New World," "Gattaca" and the Sylvester Stallone potboilers "Judge Dredd" and "Demolition Man" out in the sun and threw the runny glop onto a movie screen, it would still be a better picture than Equilibrium, a movie that could be stupider only if it were longer.
    • 6 Metascore
    • 0 Elvis Mitchell
    One way to get through Baby Geniuses is to think about whether it really is the worst movie you've ever seen. Probably not, but pretty darn close.
    • 16 Metascore
    • 0 Elvis Mitchell
    The film makers had declared they were bravely exploring new levels of licentiousness, but the biggest risk they've taken here is making a nearly $40 million movie without anyone who can act. The absence of both drama and eroticism turns Showgirls into a bare-butted bore. [22 Sept 1995]
    • The New York Times

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