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

Elvis Mitchell's Scores

  • Movies
Average review score: 69
Highest review score: 100 Lone Star
Lowest review score: 0 Equilibrium
Score distribution:
  1. Negative: 17 out of 388
388 movie reviews
    • 61 Metascore
    • 80 Elvis Mitchell
    What emerges, in the end, are a clever premise that has been allowed to go awry and several performances that are lively and unpredictable enough to transcend the confusion. Mr. Bridges, always a fine intuitive actor, has never displayed a greater range.
    • 61 Metascore
    • 80 Elvis Mitchell
    A meat-and-potatoes American thriller that means business all around the world.
    • 61 Metascore
    • 50 Elvis Mitchell
    A parade of incongruities, with performances ranging from the sublime to the you-know-what.
    • 61 Metascore
    • 50 Elvis Mitchell
    The film is shot by Bill Pope with such enterprising flair that it never looks claustrophobic, but the action inevitably stalls in such close quarters.
    • 61 Metascore
    • 70 Elvis Mitchell
    A film with a counterproductive tendency to take its time...but unassumingly strong, moving performances and Darabont's durable storytelling make it a trip worth taking just the same.
    • 61 Metascore
    • 90 Elvis Mitchell
    This poisonous, brazenly autobiographical comedy shows off the best of Mr. Allen's misanthropic humor.
    • 61 Metascore
    • 70 Elvis Mitchell
    Mr. Douglas, who delivers a new shade of cruel elegance each time he plays another urbane monster, is the ideal star for this vigorously contrived thriller.
    • 61 Metascore
    • 80 Elvis Mitchell
    What matters more is that Ms. Goldberg, along with her co-stars Mary-Louise Parker and Drew Barrymore, is so sharp, funny and wholehearted that this film creates an unexpected groundswell of real emotion.
    • 61 Metascore
    • 70 Elvis Mitchell
    Another demonstration that current movies about upscale black characters have much more traditional values than ones about catty white teen-agers.
    • 61 Metascore
    • 80 Elvis Mitchell
    As he demonstrated in "Groundhog Day," Ramis knows how to handle a high-concept story with unusual cleverness, and he does it again here. It helps to no end that De Niro and Crystal, despite their obvious differences, are perfectly in tune.
    • 60 Metascore
    • 100 Elvis Mitchell
    Mr. Howard has made Ransom in the same clean, swift, logical style that sent his "Apollo 13" into orbit, resulting in a spellbinding crime tale that delivers surprises right down to the wire.
    • 60 Metascore
    • 70 Elvis Mitchell
    The film uses morphing and Rick Baker's monster effects strikingly, but it also keeps its gimmicks well tethered to reality.
    • 60 Metascore
    • 80 Elvis Mitchell
    Bright, stylish, ridiculously alluring.
    • 60 Metascore
    • 70 Elvis Mitchell
    Though Videodrome finally grows grotesque and a little confused, it begins very well and sustains its cleverness for a long while. (Review of Original Release)
    • 60 Metascore
    • 80 Elvis Mitchell
    One of this film's greatest accomplishments is its making an audience believe that the Corleones and their various partners in crime have been entirely in character during the intervening decades, but have simply neglected to turn up on screen.
    • 60 Metascore
    • 70 Elvis Mitchell
    This film maker's supremely tactile, sensual style and his taste for exoticism are captivatingly on display in Stealing Beauty, even if the film's philosophizing sometimes lacks the intellectual heft of a cotton puff.
    • 60 Metascore
    • 70 Elvis Mitchell
    Though both stars are sometimes eclipsed when the film strains for big action episodes, Mr. Duchovny sustains enough cool, deadpan intellect and suppressed passion to give the story a center. Ms. Armstrong has the harsher, more restrictive role, but she plays it with familiar hardboiled glamour.
    • 60 Metascore
    • 60 Elvis Mitchell
    Amusing but sloppy and overcomplicated.
    • 60 Metascore
    • 70 Elvis Mitchell
    The film itself works eagerly to emphasize the frankly entertaining aspects of its story.
    • 60 Metascore
    • 80 Elvis Mitchell
    Though in essence this is little more than a girls' romance novel brought to life, it has been filled with heart and humor. The place, the people and even the largely predictable situations in which they find themselves are presented in an entirely winning way. [21 Oct 1988]
    • 60 Metascore
    • 80 Elvis Mitchell
    All of the performers are upstaged by the film's breathtaking backdrop, and by the fast and furious way Renny Harlin, the director, approaches action sequences.
    • 60 Metascore
    • 60 Elvis Mitchell
    At regular intervals the film stops short for similiarly nifty Chan choreography, letting the star flip, swivel, scamper up walls and hurl large objects with his feet.
    • 59 Metascore
    • 70 Elvis Mitchell
    Half the film is an ingenuous love story, but the better half consists of pop culture time-warp jokes set in 1985.
    • 59 Metascore
    • 70 Elvis Mitchell
    Dependably well made and not quite like any Allen film that came before. Nimble film making like this isn’t necessarily geared to the magnum opus, but Mr. Allen can achieve fine, amusing results even while thinking small. [27 October 1995, P.C1]
    • 59 Metascore
    • 90 Elvis Mitchell
    His sumptuous film is as strange and mesmerizing as it is imaginatively ghastly. It's a sophisticated, spookily intense rendering of Ms. Rice's story.
    • 59 Metascore
    • 80 Elvis Mitchell
    Two reasons it's impossible to resist "Independence Day": because of its pitch-perfect cartoonish dialogue ("Now you're never gonna get to fly the space shuttle if you marry a stripper!") and because the Captain, like Indiana Jones, is so unflappably tough.
    • 59 Metascore
    • 70 Elvis Mitchell
    Seldom is it clearer that a film is nothing more than high-gloss jokey escapism, or that when visual cliches are this relentless they become weirdly fascinating in their own right.
    • 59 Metascore
    • 80 Elvis Mitchell
    Benigni effectively creates a situation in which comedy is courage. And he draws from this an unpretentious, enormously likable film that plays with history both seriously and mischievously. Piety has no place here, nor do tears until the final reel. Life is Beautiful plays by its own rules
    • 59 Metascore
    • 70 Elvis Mitchell
    Cheerful, giddy fun.
    • 59 Metascore
    • 80 Elvis Mitchell
    The good thing is that the principals and film makers make the absolute most of a conventional opportunity.