Elvis Mitchell

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For 389 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 6.8 points higher than other critics. (0-100 point scale)

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The People vs. Larry Flynt
Lowest review score: 0 Showgirls
Score distribution:
  1. Negative: 16 out of 389
389 movie reviews
    • 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.
    • 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.
    • 42 Metascore
    • 50 Elvis Mitchell
    The actors mark time, and the gung-ho heroics on display are embarrassingly hollow.
    • 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
    • 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
    • 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
    • 61 Metascore
    • 50 Elvis Mitchell
    A parade of incongruities, with performances ranging from the sublime to the you-know-what.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    A film that not only breaks the cross-dressing barrier but also ratchets up the violence level for children's animation.
    • 44 Metascore
    • 50 Elvis Mitchell
    The film bounces busily among these players until it has to slow down and pretend to be sincere.
    • 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.
    • 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.
    • 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
    • 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.
    • 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)
    • 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.
    • 71 Metascore
    • 50 Elvis Mitchell
    The film transcends racial divisions by bestowing equally hopeless dialogue on both sides.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.

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