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

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Titanic
Lowest review score: 0 Equilibrium
Score distribution:
  1. Negative: 16 out of 389
389 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.
    • 67 Metascore
    • 60 Elvis Mitchell
    Grandiose and silly.
    • 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.
    • 41 Metascore
    • 60 Elvis Mitchell
    For all the funny possibilities of Mr. Murphy's neat transformation here, the latest comedy from Stephen Herek ("Bill and Ted's Excellent Adventure," "The Mighty Ducks") doesn't know what to do with him.
    • 57 Metascore
    • 60 Elvis Mitchell
    Yet for all the film's hard work at capturing Savannah's spirit, there is seldom enough context to make these characters seem anything but adorably whimsical to excess.
    • 46 Metascore
    • 60 Elvis Mitchell
    Manages to have playful comic ingenuity of its own.
    • 49 Metascore
    • 60 Elvis Mitchell
    Best watched as a showcase for radiant young talent.
    • 54 Metascore
    • 60 Elvis Mitchell
    As the family film least insulting to its audience's intelligence this season, Mouse Hunt has its share of grown-up appeal along with mouse mischief guaranteed to have children giggling.
    • 52 Metascore
    • 60 Elvis Mitchell
    Lost Highway, an elaborate hallucination that could never be mistaken for the work of anyone else, finds Mr. Lynch echoing the perversity of "Blue Velvet," the earlier film of his that this most closely resembles.
    • 65 Metascore
    • 60 Elvis Mitchell
    A mildly facetious tone limits Anderson's film to the lightweight, but the collective enthusiasm behind this debut effort still comes through. What's best about Bottle Rocket is not the laid-back pranks that inflate its story to feature length but the offbeat elan with which that story is told.
    • 47 Metascore
    • 60 Elvis Mitchell
    Newell's ensemble timing and breezily sardonic style make it work better than might be expected.
    • 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."
    • 41 Metascore
    • 60 Elvis Mitchell
    Mallrats mixes clever bits and an appealing quirkiness (which goes a long way) with gross-out practical jokes, needless repetition and obvious padding, since it has no real plot. [20 Oct 1995]
    • The New York Times
    • 55 Metascore
    • 60 Elvis Mitchell
    In Volcano, the thrills are so well wrought that they eventually lose their novelty and become numbing.
    • 46 Metascore
    • 60 Elvis Mitchell
    Mr. Garcia gives one of his sleeker dreamboat performances.
    • 55 Metascore
    • 60 Elvis Mitchell
    Ghoulish interest is a prerequisite for watching Mira Sorvino (as a bold and athletic entomologist) act against performers who have mandibles, or for appreciating the care with which nymph, juvenile and adult insect villains have been devised.
    • 60 Metascore
    • 60 Elvis Mitchell
    Amusing but sloppy and overcomplicated.
    • 47 Metascore
    • 60 Elvis Mitchell
    The Crash characters sleepwalk through this story in a state of futuristic numbness, seeking extreme forms of sensation because familiar feelings have long since failed them. It's a chilling, ghastly possibility that manages to exert a grim fascination.
    • 43 Metascore
    • 60 Elvis Mitchell
    The special effects are suitably catastrophic, though they aren't much more clever than the computer tricks that turn up in beer commercials these days.
    • 35 Metascore
    • 60 Elvis Mitchell
    Mr. Boyle's brand of heaven-sent love story comes with a strange and whimsical mean streak. Tender thoughts and ha-ha shootings don't automatically mix.
    • 58 Metascore
    • 60 Elvis Mitchell
    But Night Falls on Manhattan is also oddly listless. It doesn't often live up to the doomy eloquence of its title.
    • 72 Metascore
    • 60 Elvis Mitchell
    Yet this film, for all its apparent immediacy, winds up less affecting than a more poetic or roundabout approach might be.
    • 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.
    • 39 Metascore
    • 60 Elvis Mitchell
    Eschewing warm, cuddly imagery just as Mr. Van Allsburg's book does, the film affects a strange, artificial style that has the invasive weirdness of "Gremlins" but none of the charm.
    • 65 Metascore
    • 60 Elvis Mitchell
    But the film's central figure remains a cipher, the subject of a colorful scrapbook rather than a revealing portrait.
    • 56 Metascore
    • 60 Elvis Mitchell
    Ms. Foster and the screenwriter, W. D. Richter, have given this film some peculiar mood swings, so that it starts out zanily and winds down to a wistful note.
    • 68 Metascore
    • 60 Elvis Mitchell
    This film often fumbles, but it finally tugs at the heartstrings all the same.
    • 54 Metascore
    • 60 Elvis Mitchell
    The film's cool, sober texture and its clever characters are often more interesting than the larger plot.
    • 50 Metascore
    • 50 Elvis Mitchell
    Likable for its outlandishness, less so when it shows a self-important streak.
    • 38 Metascore
    • 50 Elvis Mitchell
    It cares far more about herding audiences into theaters than about what they hear or see.
    • 37 Metascore
    • 50 Elvis Mitchell
    Depp moves through the film suavely and imperturbably, never letting the particulars bog him down.
    • 40 Metascore
    • 50 Elvis Mitchell
    Style overwhelms substance by default.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Elvis Mitchell
    In fact even the film's most dramatic moments are presented with decorousness bordering on detachment.
    • 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.
    • 35 Metascore
    • 40 Elvis Mitchell
    Newly benign and noticeably clumsier than the hits (Williamson) has written.
    • 40 Metascore
    • 40 Elvis Mitchell
    Would-be Hitchcockian cat-and-mouse games...are more memorable for their settings...than for their sense.
    • 41 Metascore
    • 40 Elvis Mitchell
    It's a flimsy sentimental comedy with more product plugs and fewer laughs than might have been hoped for.
    • 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
    • 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
    • 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
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 25 Metascore
    • 40 Elvis Mitchell
    Low humor might count for more here if it weren't constantly overshadowed by the film's maudlin streak.
    • 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.
    • 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.
    • 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.
    • 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.
    • 30 Metascore
    • 40 Elvis Mitchell
    No film winds up with a name like Feeling Minnesota if it has anything definite in mind.
    • 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.
    • 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.
    • 56 Metascore
    • 40 Elvis Mitchell
    But even after the documentary affectation gives way to a more conventional narrative, the film has trouble ringing true.
    • 41 Metascore
    • 40 Elvis Mitchell
    A whopping wrong turn throws this lightweight, benign-looking movie terminally off course.
    • 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.
    • 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.
    • 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.

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