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

Elvis Mitchell's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 To Die For
Lowest review score: 0 Baby Geniuses
Score distribution:
  1. Negative: 17 out of 388
388 movie reviews
    • 65 Metascore
    • 60 Elvis Mitchell
    But the film's central figure remains a cipher, the subject of a colorful scrapbook rather than a revealing portrait.
    • 65 Metascore
    • 80 Elvis Mitchell
    While this film's conception of a terrorist threat is apparent early on, its strength lies in a string of ingenious little surprises.
    • 65 Metascore
    • 80 Elvis Mitchell
    Directed by Eastwood with righteous indignation and increasingly strong momentum.
    • 65 Metascore
    • 30 Elvis Mitchell
    Not even bags of body parts, a bitten-off tongue or a man forced to cut off a pound of his own flesh keep it from being dull. [22 September 1995, p. C18]
    • The New York Times
    • 65 Metascore
    • 50 Elvis Mitchell
    In fact even the film's most dramatic moments are presented with decorousness bordering on detachment.
    • 65 Metascore
    • 80 Elvis Mitchell
    With unexpected success, Robert Altman plays a John Grisham mystery in a seductive new key.
    • 65 Metascore
    • 50 Elvis Mitchell
    Wes Craven (of the 'Nightmare on Elm Street' films) is in the mood for parody.
    • 64 Metascore
    • 70 Elvis Mitchell
    A well-made work with much to recommend it, even if its worthiness is not the brightest flare on the movie horizon this season.
    • 64 Metascore
    • 90 Elvis Mitchell
    A handsome and fully imagined work of cautionary futuristic fiction.
    • 64 Metascore
    • 90 Elvis Mitchell
    Everywhere the camera turns in this tense and volatile drama, it finds enough interest for a truckload of conventional Hollywood fare. Whatever its limitations, Cop Land has talent to burn.
    • 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.
    • 64 Metascore
    • 70 Elvis Mitchell
    The filmmaker has borrowed from Chekhov the soul-baring introspection that can be so ineffable on the page or stage yet becomes so damply sensitive and dramatically vague on screen.
    • 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.
    • 64 Metascore
    • 90 Elvis Mitchell
    A hilariously brazen comedy whose heroine is an improbable hoot.
    • 64 Metascore
    • 60 Elvis Mitchell
    Although Robbins might have drawn some of these characters with less obviousness and more satirical bite, he ably keeps this lively, complicated film on track.
    • 64 Metascore
    • 50 Elvis Mitchell
    But for all its enthusiasm, this film isn't sharp enough to afford all the time it wastes on small talk, long drives, trips to the mall and favorite songs played on car radios.
    • 63 Metascore
    • 70 Elvis Mitchell
    Dwarfed by the enormity of what it means to illustrate, the diffuse Amistad divides its energies among many concerns: the pain and strangeness of the captives' experience, the Presidential election in which they become a factor, the stirrings of civil war, and the great many bewhiskered abolitionists and legal representatives who argue about their fate.
    • 63 Metascore
    • 70 Elvis Mitchell
    Muriel's Wedding runs into trouble when it looks for poignancy too openly, working better at giddy moments than in its occasional sad ones. Most of the time, Mr. Hogan keeps his story light and surprising.
    • 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.
    • 63 Metascore
    • 80 Elvis Mitchell
    Basketball, bold urban landscapes, larger-than-life characters and red-hot visual pyrotechnics are the strong points of Mr. Lee's biggest three-ring circus, not to mention the central presence of Denzel Washington.
    • 63 Metascore
    • 80 Elvis Mitchell
    This is hot-weather escapism so earnestly retrograde that it seems new.
    • 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.
    • 63 Metascore
    • 70 Elvis Mitchell
    Even if you haven't spent as much obsessive time at the video store as these guys have, you might enjoy helping 'Scream 2' laugh all the way to the bank.
    • 62 Metascore
    • 60 Elvis Mitchell
    Mr. Murphy proves himself a surprisingly strong actor here, playing Sherman with sweetness and poignancy, not to mention loads of funny weight-related humor.
    • 62 Metascore
    • 90 Elvis Mitchell
    Mr. Bogosian's venomously funny play, which he adapted himself for the screen, is given warmth and generosity by Mr. Linklater, whose elegantly fluid direction and great skill with actors are accentuated by the play's spareness.
    • 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.
    • 62 Metascore
    • 60 Elvis Mitchell
    Though the film has its basis in an actual event that took place in St. Louis, it takes on the homogeneous look of many other thrillers in which an emergency escalates into a paramilitary operation.
    • 62 Metascore
    • 70 Elvis Mitchell
    Mr. Scott's affinity for the visceral and strenuous, from ''Alien'' to ''Blade Runner'' to ''White Squall,'' is much more central here than the renegade feminism of his ''Thelma and Louise.'' With punishing intensity, he plunges his audience into the maelstrom of the training program.
    • 62 Metascore
    • 60 Elvis Mitchell
    The five young stars would have mixed well even without the fraudulent encounter-group candor towardS which The Breakfast Club forces them. Mr. Hughes, having thought up the characters and simply flung them together, should have left well enough alone.
    • 62 Metascore
    • 80 Elvis Mitchell
    The real fun here comes from watching Mr. Kline bounding through two archly good performances, Mr. Cleese coming hilariously unstrung in the presence of Ms. Curtis and all those adorable animals.