Elvis Mitchell
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For 388 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 9.3 points higher than other critics. (0-100 point scale)

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Shakespeare in Love
Lowest review score: 0 Baby Geniuses
Score distribution:
  1. Negative: 16 out of 388
388 movie reviews
    • 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
    • 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
    • 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
    • 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
    • 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.
    • 90 Metascore
    • 80 Elvis Mitchell
    The filmmaker creates schematic, intuitive images that hauntingly crystallize the characters' situations.
    • 90 Metascore
    • 80 Elvis Mitchell
    Warm, affecting and refreshingly shtickless, he (Carrey) occupies center stage here through sheer, beguiling force of personality.
    • 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.
    • 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.
    • 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
    • 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
    • 88 Metascore
    • 100 Elvis Mitchell
    A supremely elegant and thoughtful parable. [14 September 1994, p. C11]
    • 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.
    • 87 Metascore
    • 80 Elvis Mitchell
    Fortunately, Hicks's direction has an elegance and dignity that rescue Shine from the exploitative and give the film an acute, genuinely sensitive style.
    • 87 Metascore
    • 100 Elvis Mitchell
    A stunning feat of literary adaptation as well as a purely cinematic triumph.
    • 86 Metascore
    • 100 Elvis Mitchell
    An irresistible black comedy and a wicked delight. [27 Sept 1995]
    • The New York Times
    • 86 Metascore
    • 90 Elvis Mitchell
    It's too smart to be maudlin.
    • 86 Metascore
    • 90 Elvis Mitchell
    Stunning...a film much tougher and more transfixing than its wan title.
    • 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
    • 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.
    • 85 Metascore
    • 90 Elvis Mitchell
    For all its exaggerated ordinariness, this film seems to start where others leave off.
    • 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
    • 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.
    • 84 Metascore
    • 60 Elvis Mitchell
    Thornton is sadly affecting in the film's central role.
    • 84 Metascore
    • 60 Elvis Mitchell
    A B-movie with flair.
    • 84 Metascore
    • 90 Elvis Mitchell
    Those unfamiliar with the book will simply appreciate a stirring, many-sided fable, one that is exceptionally well told.
    • 84 Metascore
    • 90 Elvis Mitchell
    Grandly entertaining...matches the Austen-based "Clueless" for sheer run. [13 Dec 1995]
    • 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.
    • 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
    • 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
    • 83 Metascore
    • 80 Elvis Mitchell
    Duvall's unobtrusive direction moves the film at a leisurely pace that lets many scenes build the gentle, pleasing rhythms of small-town Southern life. A rare display of spiritual light on screen.
    • 83 Metascore
    • 80 Elvis Mitchell
    The stylish irreverence of Trainspotting mimics that drug high and delivers its own potent kick.
    • 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
    • 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.
    • 82 Metascore
    • 90 Elvis Mitchell
    The purity and breadth of this meticulous study are all the more gratifying in view of its unprepossessing style.
    • 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
    • 82 Metascore
    • 80 Elvis Mitchell
    The author's sardonic voice has been lost in most films based on his fiction, but this one nicely captures that unruffled Leonard authority. And since Get Shorty is about Hollywood, it invites the sneaky self-mockery that gives this film its comic punch. [20 October 1995, p. C1]
    • The New York Times
    • 82 Metascore
    • 90 Elvis Mitchell
    When you get the shivers watching this wintry tale unfold, it won't be from the cold.
    • 81 Metascore
    • 90 Elvis Mitchell
    Elegant, festive and very, very funny. [9 March 1994, p. C15]
    • The New York Times
    • 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.
    • 81 Metascore
    • 70 Elvis Mitchell
    It exaggerates real, recognizable attitudes in a manner that intends to be disturbing.
    • 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
    • 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.
    • 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.
    • 80 Metascore
    • 90 Elvis Mitchell
    Quietly courageous drama .
    • 80 Metascore
    • 80 Elvis Mitchell
    John Hurt is simply wonderful -- acerbic, funny and heartbreaking.
    • 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
    • 80 Metascore
    • 80 Elvis Mitchell
    The film is loaded with brotherly affection and with warm, funny and poignant evocations of a gentler time.[20 September 1996, p.C12]
    • The New York Times
    • 80 Metascore
    • 80 Elvis Mitchell
    There's plenty of room for sentimentality here, but the wonder of Salles' film is all in the telling.
    • 79 Metascore
    • 70 Elvis Mitchell
    The film's outstanding nastiness, which is often diabolically funny until a poorly staged final battle sequence simply takes things too far, has something real and recognizable at its core.
    • 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
    • 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.
    • 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)
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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
    • 77 Metascore
    • 80 Elvis Mitchell
    Despite its underlying predictability, Courage Under Fire manages warmth, intelligence and a healthy share of surprises.
    • 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.
    • 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.
    • 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
    • 77 Metascore
    • 90 Elvis Mitchell
    Beautiful and heartfelt, an oasis of humanity in a season of furious hyperbole.
    • 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
    • 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
    • 77 Metascore
    • 90 Elvis Mitchell
    Makes jaunty, imaginative use of both extraordinary technology and bold storytelling possibilities within the insect world.
    • 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
    • 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.
    • 76 Metascore
    • 80 Elvis Mitchell
    Enough wild-card energy to keep it bright and surprising.
    • 76 Metascore
    • 70 Elvis Mitchell
    Shows colorful style and a wisdom beyond precocity about its setting and its people.
    • 76 Metascore
    • 80 Elvis Mitchell
    This film's very lack of surprise and sophistication accounts for a lot of its considerable charm.
    • 76 Metascore
    • 90 Elvis Mitchell
    Crackling good... the best crime movie in a long while.
    • 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
    • 76 Metascore
    • 80 Elvis Mitchell
    A heartbreakingly thoughtful minor classic, the work of a genuine and singular artist.
    • 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.
    • 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.
    • 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.
    • 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
    • 75 Metascore
    • 70 Elvis Mitchell
    Its best moments come from witnessing the Senator's inspired unraveling, not from watching where it will end.
    • 75 Metascore
    • 70 Elvis Mitchell
    Though Heavy begins beautifully, it isn't always able to sustain its balance between narrative subtlety and inertia.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 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.
    • 74 Metascore
    • 80 Elvis Mitchell
    Another fast, gripping spy story with some good tricks up its sleeve.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 73 Metascore
    • 80 Elvis Mitchell
    The Dinner Game, which Veber wrote and directed, is one of his better-constructed comedies of errors.
    • 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
    • 73 Metascore
    • 70 Elvis Mitchell
    Of all the bravura visual effects in Martin Scorsese's dazzingly stylish Casino, it's a glimpse of ordinary people that delivers the greatest jolt. [22 November 1995, p.C9]
    • The New York Times
    • 73 Metascore
    • 80 Elvis Mitchell
    Made with such overriding jubilation that its coarseness is mostly liberating...well worth admiring for its sheer glee.

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