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 9.5 points higher than other critics. (0-100 point scale)

Elvis Mitchell's Scores

  • Movies
Average review score: 69
Highest review score: 100 To Die For
Lowest review score: 0 Baby Geniuses
Score distribution:
  1. Negative: 17 out of 388
388 movie reviews
    • 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]
    • 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.
    • 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.
    • 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]
    • 73 Metascore
    • 90 Elvis Mitchell
    The film's strength is that it sustains an intimate and realistic tone. Mr. Fishburne, who is called upon to deliver several lectures, manages to do so with enormous dignity and grace, and makes Furious a compelling role model, someone on whom the whole film easily pivots.
    • 91 Metascore
    • 90 Elvis Mitchell
    Unfolds beautifully, with a rueful, knowing intelligence that rises above easy assumptions. [27 September 1996, p.C1]
    • 86 Metascore
    • 90 Elvis Mitchell
    Stunning...a film much tougher and more transfixing than its wan title.
    • 85 Metascore
    • 90 Elvis Mitchell
    For all its exaggerated ordinariness, this film seems to start where others leave off.
    • 80 Metascore
    • 90 Elvis Mitchell
    Quietly courageous drama .
    • 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]
    • 76 Metascore
    • 90 Elvis Mitchell
    Crackling good... the best crime movie in a long while.
    • 68 Metascore
    • 90 Elvis Mitchell
    Kubrick left one more brilliantly provocative tour de force as his epitaph.
    • 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
    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.
    • 71 Metascore
    • 90 Elvis Mitchell
    Kirk Jones, who wrote and directed this blithe comedy, has been a prize-winning director of television commercials. And he has the knack of finding rubbery, expressive faces and letting each villager's quirks emerge on cue.
    • 70 Metascore
    • 90 Elvis Mitchell
    The script's bare bones are familiar, yet the film also has fine acting, steady momentum, a sharp eye and a very warm heart.
    • 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]
    • 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]
    • 86 Metascore
    • 90 Elvis Mitchell
    It's too smart to be maudlin.
    • 81 Metascore
    • 90 Elvis Mitchell
    Elegant, festive and very, very funny. [9 March 1994, p. C15]
    • 67 Metascore
    • 90 Elvis Mitchell
    Ronin can be watched as appreciatively for its hard-boiled performances as for its visceral excitement.
    • 71 Metascore
    • 90 Elvis Mitchell
    Ingenious fantasy.
    • 77 Metascore
    • 90 Elvis Mitchell
    Makes jaunty, imaginative use of both extraordinary technology and bold storytelling possibilities within the insect world.
    • 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.
    • 84 Metascore
    • 90 Elvis Mitchell
    Those unfamiliar with the book will simply appreciate a stirring, many-sided fable, one that is exceptionally well told.
    • 65 Metascore
    • 90 Elvis Mitchell
    Mr. Redford has found his own visually eloquent way to turn the potboiler into a panorama, with a deep-seated love for the Montana landscape against which his rapturously beautiful film unfolds.
    • 65 Metascore
    • 90 Elvis Mitchell
    Brilliantly reimagines the glam-rock 70's as a brave new world of electrifying theatricality and sexual possibility, to the point where identifying precise figures in this neo-psychedelic landscape is almost beside the point.
    • 64 Metascore
    • 90 Elvis Mitchell
    Everywhere the camera turns in this tense and volatile drama, it finds enough interest for a truckload of conventional Hollywood fare. Whatever its limitations, Cop Land has talent to burn.
    • 61 Metascore
    • 90 Elvis Mitchell
    This poisonous, brazenly autobiographical comedy shows off the best of Mr. Allen's misanthropic humor.
    • 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.