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 Shakespeare in Love
Lowest review score: 0 Baby Geniuses
Score distribution:
  1. Negative: 16 out of 388
388 movie reviews
    • 68 Metascore
    • 90 Elvis Mitchell
    Kubrick left one more brilliantly provocative tour de force as his epitaph.
    • 68 Metascore
    • 90 Elvis Mitchell
    It tells a finely nuanced tale of right, wrong and the gray area in between.
    • 68 Metascore
    • 60 Elvis Mitchell
    This film often fumbles, but it finally tugs at the heartstrings all the same.
    • 68 Metascore
    • 80 Elvis Mitchell
    Affectionately told ...beguiling.
    • 68 Metascore
    • 70 Elvis Mitchell
    It becomes less crisp on screen than it was on the page, with much of the enjoyable jargon either mumbled confusingly or otherwise thrown away. [11 June 1993, p.C1]
    • The New York Times
    • 67 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
    • 67 Metascore
    • 70 Elvis Mitchell
    This film, like the dazzling but many-tentacled "He Got Game" before it, makes up in fury much of what it lacks in form.
    • 67 Metascore
    • 90 Elvis Mitchell
    Concentrating on the fine-tuned trivia that fuels so much television comedy, it also creates two bright, appealing heroines and watches them face life's little insults with fresh, disarming humor.
    • 67 Metascore
    • 90 Elvis Mitchell
    Ronin can be watched as appreciatively for its hard-boiled performances as for its visceral excitement.
    • 67 Metascore
    • 80 Elvis Mitchell
    It has a hurtling pace, nonstop intensity and a stylish, appealing performance by Will Smith in his first real starring role.
    • 67 Metascore
    • 80 Elvis Mitchell
    Thanks to sharp editing and surprisingly strong comic timing, the film puts less emphasis on the Stern raunchiness than on how his wilder routines make listeners drive off the road.
    • 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.
    • 67 Metascore
    • 90 Elvis Mitchell
    This is a formula film, but it has the kind of good cheer and fine tuning that occasionally give slickness a good name.
    • 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
    • 67 Metascore
    • 80 Elvis Mitchell
    With great looks, a dandy supporting cast, a zinger-filled screenplay by Aaron Sorkin ("A Few Good Men") and Mr. Douglas twinkling merrily in the Oval Office, The American President is sunny enough to make the real Presidency pale by comparison.
    • 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.
    • 66 Metascore
    • 80 Elvis Mitchell
    Gwyneth Paltrow makes a resplendent Emma, gliding through the film with an elegance and patrician wit that bring the young Katharine Hepburn to mind.
    • 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.
    • 66 Metascore
    • 80 Elvis Mitchell
    Limited by the vapidity of this material while he trims its excesses with the requisite machete, Mr. Eastwood locates a moving, elegiac love story at the heart of Mr. Waller's self-congratulatory overkill.
    • 66 Metascore
    • 80 Elvis Mitchell
    Finding hilarity in John Waters's latest movie title is the basic pre requisite for enjoying the goofy ingenuity of his new film.
    • 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
    • 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.
    • 66 Metascore
    • 80 Elvis Mitchell
    The sardonic, testosterone-fueled science fiction of Fight Club touches a raw nerve.
    • 66 Metascore
    • 90 Elvis Mitchell
    As directed exquisitely by Gillian Armstrong in a headstrong spirit that recalls her debut feature, "My Brilliant Career," this elliptical tale makes up in visual beauty whatever it lacks in universal meaning.
    • 66 Metascore
    • 70 Elvis Mitchell
    Robert Downey Jr.'s Blake Allen is enough of a raging dynamo to find the dark humor and desperate romanticism at the heart of Mr. Toback's ego trip of a premise, and to make Blake sympathetic too.
    • 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.
    • 65 Metascore
    • 90 Elvis Mitchell
    Brilliantly reimagines the glam-rock 70's as a brave new world of electrifying theatricality and sexual possibility, to the point where identifying precise figures in this neo-psychedelic landscape is almost beside the point.
    • 65 Metascore
    • 90 Elvis Mitchell
    Mr. Redford has found his own visually eloquent way to turn the potboiler into a panorama, with a deep-seated love for the Montana landscape against which his rapturously beautiful film unfolds.
    • 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.
    • 65 Metascore
    • 70 Elvis Mitchell
    A terrific offbeat cast operating on one shared, loony wavelength.

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