Elvis Mitchell
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For 389 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 9.2 points higher than other critics. (0-100 point scale)

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Quiz Show
Lowest review score: 0 Baby Geniuses
Score distribution:
  1. Negative: 17 out of 389
389 movie reviews
    • 74 Metascore
    • 80 Elvis Mitchell
    Another fast, gripping spy story with some good tricks up its sleeve.
    • 74 Metascore
    • 80 Elvis Mitchell
    What especially elevates it is the razor-sharp cleverness of McKellen's performance, which brings unusual fullness and feeling to a most unusual man.
    • 73 Metascore
    • 80 Elvis Mitchell
    To their credit, the actors immerse themselves deeply in the film's self-conscious aura. Ms. Sheedy reinvents herself as a tough, fascinating presence, while Ms. Mitchell's earnest bewilderment also serves the story well.
    • 73 Metascore
    • 90 Elvis Mitchell
    This modest, enormously likable film, about love and temptation and ties that bind, is about brotherhood most of all. [9 August 1995, p.C9]
    • The New York Times
    • 73 Metascore
    • 90 Elvis Mitchell
    Wag the Dog, the poison-tipped political satire that's as scarily plausible as it is swift, hilarious and impossible to resist.
    • 73 Metascore
    • 70 Elvis Mitchell
    Mythic pulp has its allure, and it also has its limitations. El Mariachi displays no real emotion except a profound appreciation for the genre film making that has inspired it, and a delight in manipulating the elements of such stories.
    • 73 Metascore
    • 80 Elvis Mitchell
    The Dinner Game, which Veber wrote and directed, is one of his better-constructed comedies of errors.
    • 73 Metascore
    • 80 Elvis Mitchell
    The film, like its heroine, has a genius for getting by on pure charm. [21 Dec 1988]
    • The New York Times
    • 73 Metascore
    • 70 Elvis Mitchell
    Of all the bravura visual effects in Martin Scorsese's dazzingly stylish Casino, it's a glimpse of ordinary people that delivers the greatest jolt. [22 November 1995, p.C9]
    • The New York Times
    • 73 Metascore
    • 80 Elvis Mitchell
    Made with such overriding jubilation that its coarseness is mostly liberating...well worth admiring for its sheer glee.
    • 73 Metascore
    • 90 Elvis Mitchell
    His Breakdown is a tough, vigorous exercise in pure action, shot with throwback expertise and, most refreshingly, without special effects.
    • 73 Metascore
    • 70 Elvis Mitchell
    As snappy and assured as it is mean-spirited. Its originality extends well beyond the limits of ordinary high school histrionics and into the realm of the genuinely perverse.
    • 73 Metascore
    • 90 Elvis Mitchell
    The film's strength is that it sustains an intimate and realistic tone. Mr. Fishburne, who is called upon to deliver several lectures, manages to do so with enormous dignity and grace, and makes Furious a compelling role model, someone on whom the whole film easily pivots.
    • 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
    • 72 Metascore
    • 80 Elvis Mitchell
    Go
    He (Liman) creates a film that lives up to the momentum of its title and doesn't really need much more.
    • 72 Metascore
    • 70 Elvis Mitchell
    Antz works best just showing off its prodigious voice talent.
    • 72 Metascore
    • 80 Elvis Mitchell
    That glimmer of recognition is what makes Groundhog Day a particularly witty and resonant comedy, even when its jokes are more apt to prompt gentle giggles than rolling in the aisles.
    • 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.
    • 72 Metascore
    • 80 Elvis Mitchell
    An American remake with plenty of new pizazz.
    • 72 Metascore
    • 90 Elvis Mitchell
    Drawing a parade of colorful performances from a constantly surprising cast, the curiously titled ''John Grisham's 'The Rainmaker' '' is Mr. Coppola's best and sharpest film in years.
    • 72 Metascore
    • 70 Elvis Mitchell
    Hard to believe that real emotion was involved anywhere in this story.
    • 72 Metascore
    • 90 Elvis Mitchell
    Elegant and deeply disquieting drama.
    • 71 Metascore
    • 80 Elvis Mitchell
    Smith's knowing humor and unruffled style make a good antidote to gender chaos. Music by David Pirner contributes to the film's loose, inviting mood.
    • 71 Metascore
    • 90 Elvis Mitchell
    Smoothly directed and acted with glee... showing quick-witted comic spirit.
    • 71 Metascore
    • 80 Elvis Mitchell
    Suspicious and hilariously self-absorbed, Favreau's every bit as comfortable in California as Charles Grodin's "Heartbreak Kid" was in Miami. [18 October 1996, p. C3]
    • The New York Times
    • 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.
    • 71 Metascore
    • 50 Elvis Mitchell
    The film transcends racial divisions by bestowing equally hopeless dialogue on both sides.
    • 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.
    • 71 Metascore
    • 80 Elvis Mitchell
    Mr. Hanks's debut feature, written and directed with delightful good cheer, is rock-and-roll nostalgia presented as pure fizz.
    • 71 Metascore
    • 80 Elvis Mitchell
    The don't quite do for "Oklahoma!" what they did for heavy metal, but they come close. [31 Jan 1997, p.C6]
    • The New York Times