Elvis Mitchell

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For 386 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 8.7 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 Showgirls
Score distribution:
  1. Negative: 16 out of 386
386 movie reviews
    • 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.
    • 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.
    • 46 Metascore
    • 60 Elvis Mitchell
    Banderas directs capably enough to keep the film lively.
    • 53 Metascore
    • 60 Elvis Mitchell
    Treats its characters seriously and doesn't resort to the obvious very often.
    • 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.
    • 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.
    • 56 Metascore
    • 60 Elvis Mitchell
    The film, like Nikita herself, becomes more conventionally sleek and less interestingly bizarre as it moves along.
    • 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
    • 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.
    • 47 Metascore
    • 60 Elvis Mitchell
    Travolta again carries a film with enjoyable ease, even if this one remains badly diminished by its perverse streak.
    • 84 Metascore
    • 60 Elvis Mitchell
    Thornton is sadly affecting in the film's central role.
    • 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.
    • 48 Metascore
    • 60 Elvis Mitchell
    Fortunately, the Webber shelter is a jaunty monument to kitsch, and the Webbers themselves are an appealingly batty crew.
    • 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.
    • 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.
    • 44 Metascore
    • 60 Elvis Mitchell
    Works well as family entertainment.
    • 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.
    • 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.
    • 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.
    • 83 Metascore
    • 60 Elvis Mitchell
    A B-movie with flair.
    • 52 Metascore
    • 60 Elvis Mitchell
    Eastwood directs a sensible-looking genre film with smooth expertise, but its plot is quietly berserk.
    • 51 Metascore
    • 60 Elvis Mitchell
    Easier to watch than it is to believe.
    • 48 Metascore
    • 60 Elvis Mitchell
    Beyond its persistent coarseness, Wallace's story often trades yesterday's inspiration (Dumas) for today's (Simpson-Bruckheimer).
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.

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