Elvis Mitchell
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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 9.3 points higher than other critics. (0-100 point scale)

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The Last Seduction
Lowest review score: 0 Baby Geniuses
Score distribution:
  1. Negative: 16 out of 388
388 movie reviews
    • 94 Metascore
    • 100 Elvis Mitchell
    A triumphant, cleverly disorienting journey through a demimonde that springs entirely from Mr. Tarantino's ripe imagination, a landscape of danger, shock, hilarity, and vibrant local color. Nothing is predictable or familiar within this irresistably bizarre world. You don't merely enter a theater to see Pulp Fiction; you go down a rabbit hole. [23 Sept 1994]
    • The New York Times
    • 93 Metascore
    • 100 Elvis Mitchell
    But the film Schindler's List, directed with fury and immediacy by a profoundly surprising Steven Spielberg, presents the subject as if discovering it anew. [15 Dec 1993]
    • The New York Times
    • 92 Metascore
    • 100 Elvis Mitchell
    A parent-tickling delight, is a work of incredible cleverness in the best two-tiered Disney tradition. [22 November 1995, p. C9]
    • The New York Times
    • 91 Metascore
    • 90 Elvis Mitchell
    Unfolds beautifully, with a rueful, knowing intelligence that rises above easy assumptions. [27 September 1996, p.C1]
    • The New York Times
    • 90 Metascore
    • 100 Elvis Mitchell
    Steven Spielberg's soberly magnificent new war film, the second such pinnacle in a career of magical versatility, has been made in the same spirit of urgent communication. It is the ultimate devastating letter home.
    • 90 Metascore
    • 80 Elvis Mitchell
    The filmmaker creates schematic, intuitive images that hauntingly crystallize the characters' situations.
    • 90 Metascore
    • 80 Elvis Mitchell
    Warm, affecting and refreshingly shtickless, he (Carrey) occupies center stage here through sheer, beguiling force of personality.
    • 89 Metascore
    • 80 Elvis Mitchell
    Mr. Lee, whose lean, straightforward documentary style loses none of his usual clarity and fire (the film has been exceptionally well shot by Ellen Kuras), summons a powerful sense of Birmingham's past and a galvanizing sense of how this bombing would change its future.
    • 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.
    • 88 Metascore
    • 100 Elvis Mitchell
    It reimagines the buddy film with such freshness and vigor that the genre seems positively new.
    • The New York Times
    • 88 Metascore
    • 100 Elvis Mitchell
    Turns out to be a smashing success, a juggernaut of an action-adventure saga that owes noithing to the past. To put it simply, thi is a home run. [6 August 1993, p. C1]
    • The New York Times
    • 88 Metascore
    • 100 Elvis Mitchell
    A supremely elegant and thoughtful parable. [14 September 1994, p. C11]
    • The New York Times
    • 87 Metascore
    • 100 Elvis Mitchell
    Shakespeare meets Sherlock, and makes for pure enchantment in the inspired conjecture behind Shakespeare in Love.
    • 87 Metascore
    • 80 Elvis Mitchell
    Fortunately, Hicks's direction has an elegance and dignity that rescue Shine from the exploitative and give the film an acute, genuinely sensitive style.
    • 87 Metascore
    • 100 Elvis Mitchell
    A stunning feat of literary adaptation as well as a purely cinematic triumph.
    • 86 Metascore
    • 100 Elvis Mitchell
    An irresistible black comedy and a wicked delight. [27 Sept 1995]
    • The New York Times
    • 86 Metascore
    • 90 Elvis Mitchell
    It's too smart to be maudlin.
    • 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]
    • The New York Times
    • 86 Metascore
    • 90 Elvis Mitchell
    Stunning...a film much tougher and more transfixing than its wan title.
    • 85 Metascore
    • 80 Elvis Mitchell
    The movie's special gift happens to be Mark Wahlberg, who gives a terrifically appealing performance in this tricky role.
    • 85 Metascore
    • 90 Elvis Mitchell
    For all its exaggerated ordinariness, this film seems to start where others leave off.
    • 85 Metascore
    • 100 Elvis Mitchell
    A devilishly entertaining crime story with a heroine who must be seen to be believed, is as satisfying an ensemble piece as “Red Rock West.” [26 October 1994, p. C13]
    • The New York Times
    • 85 Metascore
    • 100 Elvis Mitchell
    The film's sleek moodiness and visual sophistication are so effective that there's even a scene here that makes Detroit look like the most romantic city in the world.
    • 84 Metascore
    • 60 Elvis Mitchell
    Thornton is sadly affecting in the film's central role.
    • 84 Metascore
    • 60 Elvis Mitchell
    A B-movie with flair.
    • 84 Metascore
    • 90 Elvis Mitchell
    Those unfamiliar with the book will simply appreciate a stirring, many-sided fable, one that is exceptionally well told.
    • 84 Metascore
    • 90 Elvis Mitchell
    Grandly entertaining...matches the Austen-based "Clueless" for sheer run. [13 Dec 1995]
    • The New York Times
    • 83 Metascore
    • 90 Elvis Mitchell
    With a fine vengeance along with flashes of great, unexpected tenderness, Mr. Solondz lethally evokes every petty humiliation that his seventh-grade heroine can't wait to forget.
    • 83 Metascore
    • 100 Elvis Mitchell
    A film whose best moments are so novel, so deliriously funny, and so crazily unexpected that they truly must be seen to be believed. [22 June 1988]
    • The New York Times
    • 83 Metascore
    • 70 Elvis Mitchell
    The process whereby Loretta and Ronny fall in love is a lot less appealing than the large-family drama unfolding around the Castorinis' kitchen table. [16 Dec 1987, p.C22]
    • The New York Times

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