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

Elvis Mitchell's Scores

  • Movies
Average review score: 69
Highest review score: 100 The Spanish Prisoner
Lowest review score: 0 Baby Geniuses
Score distribution:
  1. Negative: 17 out of 388
388 movie reviews
    • 49 Metascore
    • 30 Elvis Mitchell
    As directed by Barry Levinson and acted by an incredible collection of male stars, Sleepers settles the authenticity question by allowing not a whiff of real life into its universe.
    • 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.
    • 49 Metascore
    • 60 Elvis Mitchell
    Best watched as a showcase for radiant young talent.
    • 48 Metascore
    • 60 Elvis Mitchell
    Fortunately, the Webber shelter is a jaunty monument to kitsch, and the Webbers themselves are an appealingly batty crew.
    • 48 Metascore
    • 70 Elvis Mitchell
    With down-to-earth comic instincts, it simply invests its story with a loud ring of truth.
    • 48 Metascore
    • 60 Elvis Mitchell
    Beyond its persistent coarseness, Wallace's story often trades yesterday's inspiration (Dumas) for today's (Simpson-Bruckheimer).
    • 48 Metascore
    • 70 Elvis Mitchell
    Events are minor and they unfold slowly. The audience has plenty of time to get ahead of the game.
    • 48 Metascore
    • 70 Elvis Mitchell
    A lively, well-constructed film with a large and appealing cast.
    • 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.
    • 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]
    • 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.
    • 47 Metascore
    • 60 Elvis Mitchell
    Travolta again carries a film with enjoyable ease, even if this one remains badly diminished by its perverse streak.
    • 47 Metascore
    • 70 Elvis Mitchell
    It remains the most structurally elegant and sneakily playful of thrillers. At least some things never change.
    • 47 Metascore
    • 60 Elvis Mitchell
    Newell's ensemble timing and breezily sardonic style make it work better than might be expected.
    • 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.
    • 46 Metascore
    • 40 Elvis Mitchell
    Having introduced the two principals and had some fun with their antagonism, the film has nowhere to go.
    • 46 Metascore
    • 60 Elvis Mitchell
    Manages to have playful comic ingenuity of its own.
    • 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.
    • 46 Metascore
    • 80 Elvis Mitchell
    Based on Alice Hoffman's fanciful novel and directed with go-for-broke prettiness by Griffin Dunne, Practical Magic is nothing but a guilty pleasure.
    • 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.
    • 46 Metascore
    • 60 Elvis Mitchell
    Mr. Garcia gives one of his sleeker dreamboat performances.
    • 46 Metascore
    • 80 Elvis Mitchell
    But Mr. Penn mostly keeps a tight, impassioned grip on this material, preventing it from wandering too far afield. The influence of John Cassavetes is again clear in the characters' emotional sparring, which has energy and heart.
    • 46 Metascore
    • 60 Elvis Mitchell
    Banderas directs capably enough to keep the film lively.
    • 45 Metascore
    • 70 Elvis Mitchell
    This story has now been gracefully adapted by Bille August into a sleek, good-looking film that captures the book's peculiar fascination.
    • 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.
    • 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.
    • 45 Metascore
    • 30 Elvis Mitchell
    Instead, Mr. Carrey turns up in a sloppy second Ace Ventura film that's little more than an echo of the first. A two-minute trailer wouldn't miss many of its highlights.
    • 45 Metascore
    • 80 Elvis Mitchell
    But Mr. Costa-Gavras, a galvanizing filmmaker working with a splendid cast, is able to tell this story in style.
    • 45 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.
    • 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.