Elvis Mitchell
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For 387 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 9 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 Showgirls
Score distribution:
  1. Negative: 16 out of 387
387 movie reviews
    • 48 Metascore
    • 70 Elvis Mitchell
    With down-to-earth comic instincts, it simply invests its story with a loud ring of truth.
    • 75 Metascore
    • 70 Elvis Mitchell
    Its best moments come from witnessing the Senator's inspired unraveling, not from watching where it will end.
    • 28 Metascore
    • 70 Elvis Mitchell
    Joel Schumacher, director and ringmaster, piles on the flashy showmanship and keeps the film as big, bold, noisy and mindlessly overwhelming as possible.
    • 57 Metascore
    • 70 Elvis Mitchell
    If Mr. Linklater is not entirely at ease with action sequences (or with the obligatory having-fun montage once the brothers become successful), he still makes this (after ''Before Sunrise'' and ''Suburbia'') another admirable directorial stretch.
    • 60 Metascore
    • 70 Elvis Mitchell
    This film maker's supremely tactile, sensual style and his taste for exoticism are captivatingly on display in Stealing Beauty, even if the film's philosophizing sometimes lacks the intellectual heft of a cotton puff.
    • 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
    • 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.
    • 60 Metascore
    • 70 Elvis Mitchell
    Though both stars are sometimes eclipsed when the film strains for big action episodes, Mr. Duchovny sustains enough cool, deadpan intellect and suppressed passion to give the story a center. Ms. Armstrong has the harsher, more restrictive role, but she plays it with familiar hardboiled glamour.
    • 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.
    • 71 Metascore
    • 70 Elvis Mitchell
    Despite its "based on a true story" opening credit, this earnest, nostalgic film has a way of seeming too good to be true.
    • 70 Metascore
    • 70 Elvis Mitchell
    It's a movie struggling with its own identity crisis, and with the obvious constraints created by its subject matter.
    • 66 Metascore
    • 70 Elvis Mitchell
    The movie has lots of glossy charm even if Ms. Roberts and Grant seem less like lovers than members of a support group for the desperately attractive.
    • 64 Metascore
    • 70 Elvis Mitchell
    Has warmth and good cheer. The film is loosely focused, but its ensemble cast is as affable as anything on television these days.
    • 53 Metascore
    • 70 Elvis Mitchell
    The film tends to be funny when confining itself to short sketches or dopey television-based humor, flat when pretending to be anything more.
    • 48 Metascore
    • 70 Elvis Mitchell
    Events are minor and they unfold slowly. The audience has plenty of time to get ahead of the game.
    • 62 Metascore
    • 70 Elvis Mitchell
    Smith makes a big, gutsy leap into questions of faith and religion. He miraculously emerges with his humor intact and his wings unsinged.
    • 63 Metascore
    • 70 Elvis Mitchell
    Lawrence and Murphy make an entertaining team. And they are surrounded by a supporting cast that makes the prison setting more pleasant than it has any right to be.
    • 69 Metascore
    • 70 Elvis Mitchell
    Ms. Jenkins, who makes her writing and directing debut with wit and confidence, keeps the small surprises frequent and the coming-of-age perspective sharp.
    • 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
    • 72 Metascore
    • 70 Elvis Mitchell
    Antz works best just showing off its prodigious voice talent.
    • 66 Metascore
    • 70 Elvis Mitchell
    Though it all comes together, most tragically, at the conclusion, Colors is less notable for its plot than for its chilling urgency and its sense of pure style. [15 Apr 1988, p.C4]
    • The New York Times
    • 60 Metascore
    • 70 Elvis Mitchell
    Though Videodrome finally grows grotesque and a little confused, it begins very well and sustains its cleverness for a long while. (Review of Original Release)
    • 35 Metascore
    • 70 Elvis Mitchell
    Mr. Lyne's films may not cast any new light on the human condition, but they do keep you glued to the screen.
    • 67 Metascore
    • 70 Elvis Mitchell
    Mr. Ferrara has his saving graces, too, the chief one being raw talent, which he continues to display while telling even the most far-fetched story.
    • 32 Metascore
    • 70 Elvis Mitchell
    Disarmingly, the film thus acknowledges the Spice Girls' flash-in-the-pan status and lets them kid around about their frankly synthetic career.
    • 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
    • 59 Metascore
    • 70 Elvis Mitchell
    Half the film is an ingenuous love story, but the better half consists of pop culture time-warp jokes set in 1985.
    • 64 Metascore
    • 70 Elvis Mitchell
    The visual illusion that Ms. Lohan is actually two characters has been accomplished so seamlessly that it barely diverts attention from one of the film's greatest passions, its product plugs.
    • 63 Metascore
    • 70 Elvis Mitchell
    Tauntingly flirtatious scenes between Ms. Ryder and Ms. Weaver give this film a sexual boldness that the others' action-adventure spirit lacked.
    • 50 Metascore
    • 70 Elvis Mitchell
    The story, neatly compressed, unfolds in dependable and photogenic ways. And it is coaxed along by Mr. Pakula's considerable skills as a brisk, methodical film maker.

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